Scope and Contents

The second of three of H. Bellaert's "n-books," all of which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 12 & 5, and pages 28 & 21 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. Macia related that he was inspired to make these drawings after visiting the Sackner Archive and viewing Tom Phillips' A Humument. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 68 & 89, and pages 112 & 15?] of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 32 & 17, and pages 42 & 39 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. The relief elements were cut from other pages in the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 110 & 99, and pages 70 & 75 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The main image in the upper drawing is a spider; Macia has created its web by repetitive writing of a poem by e.e. cummings, when skies are, in an almost micrographic style. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 46 & 35, and pages 54[?] & 61 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. The upper drawing depicts Macia's conception of the Tower of Babel. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 12 & 5, and pages 28 & 21 of a book on an astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This drawing was made on pages 151 & 152 as well as a page near the title page of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were hidden by mounting them to a sheet of gold leaf. The title page with three adjacent pages within the two pages have termite holes not concealed with gold leaf. The pages themselves have engravings that Macia has incorporated into his new image. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

These drawings were made on pages 152 & 153 and the title and preface pages of a book on astronomy by Joannis de Sacro Bosco, Spaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings and marginalia that Macia has incorporated into his new images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This drawing was made on pages 192 & 177 of a book on astronomy by Joannis de Sacro Bosco, Sphaera, Lyon France, 1564. The original pages were perforated by termite holes that were filled with gold leaf. The pages themselves have engravings that Macia has incorporated into a new image. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

On the unbound pages, Tipping provides background notes for each of the concrete poetic prints. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a copy of Drucker's catalogue essay for the exhibition "Symbols to Stories" at the Centre Gallery, Miami-Dade Community College from the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This drawing was submitted to pete spence for publication. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The first five pages feature a large heavy black printed "T" surrounded by or incorporated with letters or parts of words printed in black. The large letter completes the word. This is followed by pages that use one large black printed letter on subsequent pages to spell out the title of the book. In turn, these letters are surrounded by or incorporate letters or words printed in black or red ink. The smaller black letters have varied typefaces and dimensions while the red letters are printed with the same uppercase typeface. The typography is a modern day version of the style used by Ilia Zdanevich when in lived in Tiflis, Russia in the teens and twenties. In his books of that time, he printed two letters in a vertical row adjacent to one larger letter repetitively to indicate multiple words. Drucker has written a biography on Iliazd as Zdanevich was known when he migrated to Paris and appears to have been influenced by this distinctive typography. -- Source of annotation: Marvin...

Scope and Contents

On the back cover, it is stated that Jukka-Pekka Kervinen is a Finnish writer, composer and visual artist. He is focused to computer-generated forms, creative algorithms and chance. Jukka lives in Puhos, Finland, between two lakes, near the border of Russia, with his wife and two younger children. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents On the back cover and internet, it is stated that interacting within themselves and with the viewer/reader -- content, vehicle, medium, form and word, within a concept, pull together merging the themes and the means. It is you, the reader-viewer, that completes the work! Since 1977 -- uncountable visual poems, + 25 + small editions of artists' books, 100 + unique sculptural bookworks, a few with collaborators. Marilyn says: "TRANSPIRE TIER SPARE TEAR is made of altered visual poems. They are a merged version of 40 pages, of the hidden center in the artists' bookwork, TIER SPARE TEAR. This work unfolded, was shown in a few places, but the hidden spare visual poetry within was not revealed, not read, and never published. The bookwork's outer structure, the walls, in book format are folded and pressed together and are part of the visual poetry. "Now here are 16 visual poems. All interior pages are altered, some much more than others. Individual pages merge a bit here a bite there;...