These poems constitute those that were not used for the published book of Visual Voices. They have the same format as the published version, an introductory page (listed as laser generated, typed in media description) that provides an explanation and designation followed by Weiss' typewritten rearrangement presentation of the poem taken from classics. -- Source of annotation: Marvin or Ruth Sackner.

This poem appears to be a melange of Weiss' own poetry. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of selected sections of the book with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.

Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.

This detailed survey of Japanese visual poetry accompanied the exhibition that was curated by Klaus Peter Dencker. -- Source of annotation: Marvin or Ruth Sackner.

The book reproduces several examples of concrete and visual poetry and reprints several critical essays. -- Source of annotation: Marvin or Ruth Sackner.

Each of the contributors is represented by characteristic works on several pages defining concrete and visual poetry modes in Germany and Austria. Concise biographies and bibliographies are provided for each of the poets. Critical texts were written by Eugen Gomringer, Heinz Gappmayr, Siegfried J. Schmidt, Klaus Peter Dencker and Christina Weiss. -- Source of annotation: Marvin or Ruth Sackner.

Introduction to De Campos' performance at the Center for the Fine Arts, Miami, March 20, 1994. -- Source of annotation: Marvin or Ruth Sackner.

Thirteen poems by Vladimir Mayakovsky and the graphic design of El Lissitzky are combined in this reprint version of this important Russian Avant Garde book, a set with one copy in Russian and the other translated to English. The Sackner Archive holds an original copy (1923). This set of books also includes one edited by Patricia Railing that features a reminiscence by David Burliuk, excerpts from an interview with El Lissitzky, notes on the visual translation of For the Voice, and an essay titled "For the Voice and For the Eye - Notes on the Aesthetics in For the Voice." Each poem by Mayakovsky is extensively annotated by several contributors. -- Source of annotation: Marvin or Ruth Sackner.

Includes illustrations of "A Journey," silkscreen prints by Emmett Williams; the originals are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet lists exhibitions and catalogues of concrete and visual poetry in international venues from 1959 through 1980. -- Source of annotation: Marvin or Ruth Sackner.

Includes illustrations of "A Journey," silkscreen prints by Emmett Williams; the originals are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Consists of an anthology of the works by 12 Czechoslovakian concrete poets from the sixties and seventies. -- Source of annotation: Marvin or Ruth Sackner.