This publication is edited by John Herschend and Will Rogan. The paper roll is titled "A Letter from Trevor" and describes the significance of the image on the mug. It is from a secret military project patch of an alien with a chain around its neck and weird writing on the bottom of Klingon text that translates to "Don't Ask". Trevor's research revealed that the patch had been made by Robert Fabian and colleagues at the headquarters of the Air Force Space Command strictly unofficially and was worn on their flight suits for several months before it was spotted by someone in authority who asked where he could get one. -- Source of annotation: Marvin or Ruth Sackner.

This is the 3rd edition of this game; it was first published in 2006 in 750 copies for The Standard Hotel in Miami Beach. -- Source of annotation: Marvin or Ruth Sackner.

This an invitation to the 85th birthday party of Arthur Jaffe, the noted collector of artist and illustrated books whose collection is located at Florida Atlantic University, Boca Raton, Florida. -- Source of annotation: Marvin or Ruth Sackner.

This is Cobbing's introduction to " A Gala Exhibition" which took place at Royal Festival Hall in 1969. It included examples of contemporary British poetry and International concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This letter also includes a personal note to Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Moss writes "The four children of the Passover Haggadah intrigue us every year...We now open the folder and we see these four children in a rather unconventional treatment...The unification of the folksy and the literate are embodied here. For each of these primitive looking four children is actually a Hebrew word. When turned on its side and opened, each one's title magically appears: Chacham - the Wise one; Rasha - the Wicked one; Tam the Simple one and SHYL - the one who dooes not know how to ask." -- Source of annotation: Marvin or Ruth Sackner.

These are views of pages from A Humument (first revision) as installed in the gallery. The pages were lent to the exhibition by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a photograph of a model for a poem-garden utilizing reinforced concrete slabs with letters imbedded bronze. The sculptural forms are non-representational and there are no garden elements to denote what the words describe in contrast to Ian Hamilto Finlay's landscape picture poems. -- Source of annotation: Marvin or Ruth Sackner.

Houedard provides an explanation of the three poems which were written on the 18, 19 & 20 of July, 1966 for Exit magazine (1966). A copy of these prints is held by the Sackner Archive and is a catalog entry. -- Source of annotation: Marvin or Ruth Sackner.

Two of the snapshots depict Isou and an unidentified man seated at a table with microphone. The third photo is Isou standing in front of his works. -- Source of annotation: Marvin or Ruth Sackner.

Each of the artists describes his/her methods and thought processes involved in the creation of the works. The cohesive elements in the visual poems are the use of color and form. This publication was a gift from the poets on the occasion of their visit to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

David Moss writes, "The use of watermarks in papers goes back to the thirteenth century in Italy. A watermark is created by attaching a wire design to the screen used for handmade paper. The paper is slightly thinner where the wire sits so that when the completed sheet is held up to the light, the image is visible." The text for this print is a personal prayer to be recited by women when they light the Shabbat candles.The style of lettering is known as the Veiber-Teich font and the image is a typical Eastern European candelabra. -- Source of annotation: Marvin or Ruth Sackner.

Subtitled "An Anthology of Hitchhiking Poems," this may be considered a precursor to the hitchhiking poems and journal of John Curry on his trip across Canada in 1994, held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds "Study for AMERICA (AFTER FRANZ KAFKA), 1985 -86", page 221. In this volume page 171 is illustrated. -- Source of annotation: Marvin or Ruth Sackner.

Laffoley contributes an essay about the meaning of his new work. "The Alchemy of Breathing," a print commissioned by Marvin Sackner for "The Beauty in Breathing" exhibition (American Lung Association in 1992 in Miami Beach) is depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Timetable is a monumental sculpture conceived and installed by Maya Lin outside the Stanford University Museum of Art. In describing the work, Michel Brenson wrote in the catalogue, "the meaning of Lin's paradoxical response to the question about the nature of time in her work should be clear...within her spaces of indeterminacy, indeed helping to define them as indeterminate, are multiple experiences of time. Lin interrelates the times of water and stone, the time of the substance of the earth, the time with which the planet revolves, and human time." -- Source of annotation: Marvin or Ruth Sackner.

This is the second printing (1999). Page 192 is numbered incorrectly as page 125. -- Source of annotation: Marvin or Ruth Sackner.

The hard cover book is titled "In My Home There Is No More Sorrow: Ten Days in Rwanda" by Rick Bass.The soft cover book is McSweeney No.40. -- Source of annotation: Marvin or Ruth Sackner.

Ana María Uribe (1944-2004) was an Argentinian poet whose writing practices and poetry resonate with our historical moment of transition from analog to digital media." Uribe was inspired by a poetics that led to close affinities between the use of the page and the capabilities of digital media: The concrete poets tied onto Mallarme's innovation and revolutionized spatial conventions byturning space into an integral component of the poem with semantic significance. The flat, twodimensional surface of the page, however, is fundamentally redefined on the computer screenonce again, for the poetic space of the screen is radically different from that of the page on numerous levels. Firstly, it is kinetic and interactive: letters can move and migrate, positions ofletters and words are no longer fixed and static, but in flux and transient; they are no longer predetermined but potentially open for creative interventions (Schaffner1" -- Source of annotation: Marvin or Ruth Sackner.