Scope and Contents

The loose sheet is an errata sheet. Caws reprints Mallarme's Un Coup de Des in English translation. Tom Phillips' manifesto deals with the nature of postcards. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a well illustrated, historical survey of avante-garde cultural, art and political magazines and journals from the early 20th century to the present day. The magazines covered in this book include the following: Acephele, Alphabet and Image, Approches, Arcade, Argentzia, L'Art Brut, Aspen, Avant Garde, Baseline, Bief, Bit, Bizarre, Blast, TheBlindman, Bloc, Broom, Bulletin Dada, CA, Cahiers Dada Surrealisme, Cannibale, Cie, Club Dada, Le Coeur a Barbe, El Corno Emplumado, Dada, Der Dada, Dadaphone, Documenta-Sud, Dianamo-Futurista, Dyn, The East Village Other, L'Elan, Emigre, The Enemy, Evergreen Review, Eye, Fetish, Fluxus, Futura, Le Futurisme, Gazeta Futuristov, Geiger, Helix, Hot Lava, Huh, Information, Integral, Interview, L'Italia Futuristi, Jugend, K: Revue de las Poesie, KYW, Lava, The Little Review, Los Angeles Free Press, Mad, Der Malik, Maus, Mecano, Merz, Minotaure, Le Mot, Neon, Neue Jugend, New York Dada, The Next Call, Noi, Novyi Lef, Het Overzicht, Oz, Pan,...

Scope and Contents This detailed scholarly study of modern visual poetry defines and illustrates this international movement with particular emphasis on materials written in English, French, Italian, Spanish, German, and Catalan. Bohn writes, "For all intents and purposes, visual poetry can be defined as poetry that is meant to be seen - poetry that presupposes a viewer as well as a reader...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 the title of this book connotes 'visual poetry,' the examples chosen are verbal poems without incorporation of visual imagary . Bohn aptly dissects the meaning of several concrete and visual poems in this book. He is particularly enamored of the shaped poems of Jose Juan Tablada as well as the Spanish Futurists. The concrete poetry movement is researched in...

Scope and Contents Back cover: The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems-money, logos, corporate names, stamps-to create intimate situations among the participants. In Saper's analysis, the pleasures that these aesthetic situations afford include shared special knowledge or new language among small groups of participants. Functioning as artworks in themselves, these temporary institutional structures-networks, publications, and collective works-give rise to a gift-exchange community as an alternative economy and social system. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and...

Scope and Contents

Essays were originally delivered at the symposium "Modernism in the Low Countries 1915-1930," held at the University of Texas at Austin. Primary focus was on Dutch Modernist poetry, especially the work of VanOstaijen and Bonset. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Publisher: Digital poetry is a rapidly developing genre in the arts, marked by the most recent developments in media technology. Illustrating and reflecting the use of languages and sign systems in the symbol machine computer and in digital networks, digital poetry denotes creative, experimental, playful, or even critical language art via programming, multimedia, animation, interactivity, and net communication. P0es1s features contributions to an international symposium at Erfurt University that vividly explore changes in the notions of text and poetry, reception and authorship. Essays, manifestoes, and detailed analyses by researchers and artists make for a fundamental handbook, introducing this new art and illustrating its present state of discourse. This book is published on the occasion of the first extensive exhibition featuring international positions of digital poetry in installations as well as Internet and CD-ROM productions. -- Source of annotation: Marvin or Ruth...

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The 74 typographic prints by international designers are from the collection of Felix Beltran who also contributed a work. The prints were originally exhibited in Europe in the 1970's and were shown for the first time in North America at the New World School of the Arts in Miami, Florida. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Using Kitasono as a window on Japanese literature in the twentieth century, John Solt analyzes the relationship of Japanese writers to foreign literary movements and the influences of Japanese writers on world literature. He also provides a critical analysis of Kitasono's poetic working methods with several translations of poems written in Japanese to English. He mentions that in the late 1920s, Katue published "Collection of White Poems" that was translated by Solt. This is a constellation long before Gomringer declared this form, concrete poetry, e.g. white residence - white table - pink noblelady - white distant view - blue sky, etc. Solt records the following. "Other Western poets took notice of the VOU translations. High praise came from Hugh Gordon Porteus, who wrote in Criterion in 1939, "The most fruitful experiments with language are likely to continue to emerge from those who concern themselves with images and their relations, rather than with idle wordspinning. Nothing...

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology traces the historic roots of concrete and visual poetics through numerous illustrations to contemporary times. Franz Mon's "Collage" of 1965 (Decollage) depicted on page 81 is held by the Sackner Archive. The originals of Ruutsalo's "Textfilm" reproduced on page 96 are also held by the Sackner Archive. The book includes a section that shows employment of concrete and visual poems in commercial advertisements. The cover depicts a reproduction of a collage by Jochen Gerz. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Although the title suggests a broad based survey, the focus of this book is primarily Spanish and Catalonian Futurist and the Ultra Movement poetry. These early 20th century poems are in the style of concrete rather than visual poetry. Bohn also provides English translations and interpretations of several of them. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents After introducing the theory and historical background of the avant-garde, this book examines the major figures and movements from Rimbaud, Apollinaire, and Italian Futurism, through Dada and surrealism, Mayakovsky, Russian Futurism and Brecht, to the post-modernist writers Burroughs, Robbe-Grillet, and Pynchon. This book also includes a section of political poetry such as "The Future of Socialism" by Helmut Heissenbuttel below.nobody exploitsnobody oppressesnobody is exploitednobody is oppressednobody wins anythingnobody loses anythingnobody is masternobody is slavenobody is superiornobody is subordinatenobody owes anything to younobody does anything to younobody owns nothingnobody exploits nobodynobody oppresses nobodynobody is exploited by nobodynobody is oppressed by nobodynobody wins nothingnobody loses nothingnobody is master of nobodynobody is slave of nobodynobody is superior to nobodynobody is subordinate to nobodynobody owes anything to nobodynobody does anything to...

Scope and Contents Nudel Books: The Howard L. and Muriel Weingrow Collection consists of approximately 4,000 items including original illustrated books, periodicals, exhibition catalogues, pamphlets, posters, manuscripts, letters, and original prints representing most of the major avant-garde movements of the twentieth century. It provides important information on primary and secondary works of related movements as well as themes of interest and concern to modern artists and writers. This catalogue is divided into two sections. Part One deals with all material excluding periodicals, which are covered in Part Two. Authors and/or artists are listed alphabetically. Each item is identified in terms of its movement. A description of its size and contents; information on special features of the publication, such as paper, binding, and edition; and other pertinent data concerning materials inherent in the book, periodical, catalogue, or object are provided. The reproductions included are representative of...

Scope and Contents

This is an anthology with definitions and examples of topics that include Riddles, Enigmas, Charades, Acrostics, Word Squares, Crosswords, Scrabble, Anagrams, Rebuses, Chronograms, Palindromes, Panagrams, Lipograms, Letter Games, Alphabet Games, Playing with Poetry, Concrete Poetry, Tongue Twisters, Spoonerisms, Lapsus Linguae, Games of Lewis Carroll, Consequences, Twenty Questions, Hangman, Puns, and The Longest Word. -- Source of annotation: Marvin or Ruth Sackner.

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This critical text focuses on three themes in the late 19th and early 20th centuries: 1) the relation of experimental typography used by the artistic avant garde to linguistic theories, 2) the divergence of experimental typography from visual images, and 3) the work of four influential practitioners of experimental typography and their debt to advertising copy, viz., Marinetti, Apollinaire, Tzara, and Zdanevich. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This outstanding book traces the history of typographic design through major art movements to a description of new technologies for print design using computers. The chapters include: The Many Faces of Typographic Design; Order out of Chaos-the Russian Avant Garde; The New Typography Crosses the Ocean; The Influence of the Private Presses; Typefaces; Bits, Bytes and Typographic Design. Typefaces are alphabetically listed and their features described as an excellent reference source.This copy is the first edition whereas the duplicate is a first edition, second printing in 1991.Editorial review: Suddenly, the universe of people making typographical decisions has expanded. Effective visual communication through the informed manipulation of the size and style of type, its placement on a two dimensional surface, its integration with graphic material, and the quality of its reproduction is within reach of anyone who has a computer. Typographic Communications Todayplaces this phenomenon...

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This book includes a bibliography of 2099 sources which at the end of the list, Kessler concludes with "to be continued." However, the latter never happened!This book is also designated Band 30 od Deutsche Studien -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The chapters dealing with the world-wide concrete poetry movement include Experimental Poetry and Poetic Experiences, Technical Styles, Alphabets and Calligraphy, Silences of Movement, Constellation, Text/Surface, and Bibliography. This is the 2nd expanded edition of the original published in 1969. -- Source of annotation: Marvin or Ruth Sackner.

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Defining Zaum as a language beyond the other side or "beyond sense," Janecek traces the history of this Russian sound-language poetry through the works of its most prominent writers. He writes that "what might seem to be a minor episode in Russian avant-garde poetry has very broad implications and a historical scope that ranges from Plato to current theories of language and literature (e.g., Deconstructivism). Janecek gave this book to Marvin Sackner at the Eye Rhymes conference in Edmonton, Canada, May 1997. Janecek acknowledges that the image of Figure 25, page 279, a page from Zdanevich's "Dunkee for Rent." was reproduced by courtesy of the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.