Scope and Contents

This performance video is the reading of nine poems from Emmett Williams' "An Anthology of Concrete Poetry." Using a musical background, and interpretive photography, the emphasis is on the visual aspect of the words and not on the linguistic. The film was donated to the Anthology Film Archives and transferred to DVD in 2006. According to 2006 media standards, the film should be considered quaint, historic and dated. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This performance video is the reading of nine poems from Emmett Williams' "An Anthology of Concrete Poetry." Using a musical background, and interpretive photography, the emphasis is on the visual aspect of the words and not on the linguistic. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the first edition, first printing. In the beginning of this book, traces the poets of concrete poetry country by country as follows: Switzerland, Brazil, Germany, Austria, Iceland, Czechoslovakia, Turkey, Finland, Denmark, Sweden, japan, France, Belgium, Italy, Portugal, Mexico, Spain, Scotland, England, Canada, and United States. This is followed by a section dealing with manifestos by Gomringer, the Noigandres Group, Max Bense, Oyvind Fahlstrom, Henri Chopin, Paul De Vree, Jonathan Williams, and Ian Haimilton Finlay. The next section consists of concrete poems from from poets worldwide. Obituary: Mary Ellen Solt, 86; poet, poetry critic, By Mary Rourke, Times Staff Writer, June 29, 2007 Mary Ellen Solt, a poet and poetry critic who often arranged words on the page in a visual graphic, resulting in such works as "Forsythia," a poem that looks like a flowering shrub, has died. She was 86. Solt died June 21 at Henry Mayo Newhall Memorial Hospital in Santa Clarita after...

Scope and Contents

This reprint is stored in Ian Hamilton Finlay critical text box. -- Source of annotation: Marvin or Ruth Sackner.

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Description of book from the inside dust jacket: "Liselotte Gumpel brings to her interpretation of these two strains of poetry a solid grounding in language and cultural history as well as fresh and unbiased perceptions about the poems themselves. She offers historical background, draws connections with literary concretism's antecedents in visual arts and music, and usefully applies the semiotics of Max Bense and C.S.Peirce in her descriptions of the "dicentic genres" of the East and the "rhematic connexes" of the West. Under the rubrics of teleological humanism and creative zest she explores the shaping traditions of the two movements. A chapter on significant anthologies from East and West Germany concludes her survey." The dust jacket depicts a mandala by Kriwet that Gumpel characterizes as a "Round Disc." -- Source of annotation: Marvin or Ruth Sackner.

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Cluver analyzes Willy Correa de Oliveira's music score for Augusto DeCampos' poem "Memos." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Unable to identify this poet in a Google search. Russell Kierzkowski contributes a brief history and definition of concrete poetry as quoted as follows. "Concrete poetry has taken root in the literary soil of the United States. Small presses are attempting to establish and develop this fresh medium. Concrete poetry is a positive response to an earnest demand for adequate methods of communication. For advanced methods of thought, typography and design are the essential tools of this international.rnovement that is exercising the many dimensions of poetry which have long been suppressed by the antiquated hierarchy of literature. Arnold Linton is a local artist concerned with this emerging art. A free-lance graphic designer and typographer, he utilizes his press - the hermit press by participating in the movement to validate concrete poetry as an artform. The hermit press is one of the many small presses making an important contribution in addition to the work in concrete poetry the...

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This a critical text dealing with issues after the exhibition, "Between Poetry and Painting" at the ICA in London 1966. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of a critical analysis of Niikuni's work and a selection of his concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue depicts a wide range of Finlay's poems on cards and prints along with several critical analytic essays. -- Source of annotation: Marvin or Ruth Sackner.

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The text traces the literary history of concrete poetry from Apollinaire, Mallarme, Schwitters, the Russian poets and the Italian Futurists to the beginnings of the movement in Brazil with Augusto de Campos and in Switzerland with Gomringer. Samples of classical concrete and neoconcrete poems are printed. Process and mathematical poetry are described. ... -- Source of annotation: Marvin or Ruth Sackner.

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The recording includes Marvin Sackner's unedited talk at this conference. -- Source of annotation: Marvin or Ruth Sackner.

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The recording includes Marvin Sackner's unedited talk at this conference. -- Source of annotation: Marvin or Ruth Sackner.

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The title of this book, "Conflatio," derives from the Latin and with an 'n' added means a fusing together according to Bob Grumman's introductory essay. Each page depicts an image of a neural network in its upper half and a grid of nine, spread-out letters in its lower half. For example, the first page can be interpreted as the first loss of "Eden." "Evaginate," the word spelled out by in the second page means, "to unsheathe or take a grain out of the husk; also to tureen a tubular organ inside-out." But the network accompanying the word is richly and thickly clustering. This putting "Eden" behind yields the best grain? And acts - VER/MIC/IDE being the next text vermicidally? -- Source of annotation: Marvin or Ruth Sackner.

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Contains article by Vittore Baroni "Aspetti Dellla Poetica Visuale: Baroni, Colonna, Luigetti, Maggi." -- Source of annotation: Marvin or Ruth Sackner.

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Includes a chronology of events between Duchamp and Man Ray from 1913 to 1968. -- Source of annotation: Marvin or Ruth Sackner.

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This issue consists of black & white photographs of western United States landscapes with cardboard letters scattered in the image. -- Source of annotation: Marvin or Ruth Sackner.