Scope and Contents

The introductory essay to this exhibition, "Situacion de la Poesia en la Era Technologica" was written by Jorge Lopez Anaya. The catalogue featured examples of concrete and sound poetry worldwide including a collage by Franz Mon entitled "Sehgang" held by the Sackner Archive and depicted with this reference. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The first 250 pagesof this 374 page book onsist of a wel illustrated discourse on ancient patern poetry. This is followed by a text with examples of concrete poetry and avant garde typography of the 20th century with an emphasis on Polish poets.The bibliography cites the Sackner Catalogue 1984 and a page from Sackner Archive book "Naked Among The Clad" by Kamensky is reproduced on page 261 of Rypson's book. This book could be classified as a reference to ancient concrete poetry as well as contemporary work and arbitralily it is stored on the reference shelf as concrete poetry international. Rypson has also included a discussion with examples of ancient Hebrew pattern poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive is listed as a resource. Several books which were exhibited are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Adriano Spatola and Giovanni Fontana. It is extensively illustrated with examples of concrete and visual poetry and also depicts covers of small magazines published in this field. It provides the largest listing of contemporaneous concrete and visual poets working throughout the world. There is also a section on record jackets of sound poetry recordings. Niccolai and Spatola provide an introductory essay into concrete and visual poetry as follows: "The formulas "concrete" poetry and "visual" poetry are the most widepread in the world but they are only the tip of an iceberg up of at least a hundred definitions, for example: evident poetry, elementary poetry, gestural poetry, symbiotic poetry, ideographic poetry, spatial poetry, artificial poetry, casual poetry and so on. But to simplify matters, in writing this present statement, we will keep ourselves to the trade mark concreto & visuale. This exhibition is both a hypothesis of research and a...

Scope and Contents This exhibition was curated by Adriano Spatola and Giovanni Fontana. It is extensively illustrated with examples of concrete and visual poetry and also depicts covers of small magazines published in this field. It provides the largest listing of contemporaneous concrete and visual poets working throughout the world. There is also a section on record jackets of sound poetry recordings. Niccolai and Spatola provide an introductory essay into concrete and visual poetry as follows: "The formulas "concrete" poetry and "visual" poetry are the most widepread in the world but they are only the tip of an iceberg up of at least a hundred definitions, for example: evident poetry, elementary poetry, gestural poetry, symbiotic poetry, ideographic poetry, spatial poetry, artificial poetry, casual poetry and so on. But to simplify matters, in writing this present statement, we will keep ourselves to the trade mark concreto & visuale. This exhibition is both a hypothesis of research and a...

Scope and Contents

First printing. Bory's introduction traces the history of the concrete poetry movement and its aesthetic. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Second printing. Bory's introduction traces the history of the concrete poetry movement and its aesthetic. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by R C Kenedy. Tom Phillips designed the cover of this catalogue of British book arts. Sections are devoted to private presses, fine binding, typography and concrete poetry. Particular mention is paid to John Furnival "who paints builds whole landscapes from semantic elements" and Ian Hamilton Finlay "who creates poetry through providing words with a rigorously controlled and potently significant environment." Page 230 depicts John Christie's Word Clock III (1978) that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This anthology of poems for most part published in the 60s representing four present tendencies of poetry-Metapoetry: the Poetry of changes, Language Happenings (Concrete & Intermedia Poetry), Found Poetry & the 'Poetry of Survival. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Dencker has compiled a tour de force of writings, references and examples of visible language from prehistory to the present. It is accompanied by extensive footnotes of documentation asnd references. Although the text is written in German, the images still guide the reader as to the cultural impact of his well-chosen examples. He has described the writings of the most important world-wide individuals in this field while featuring German speaking writers. Omissions of influential American poets/artists include d.a. levy, John Giorno, Barbara Kruger and Paul Laffoly. The index in this book lists the birth and death dates for several individuals. Several works held by the Sackner Archive are reproduced in the book. These include among others Charles Cameron's poem for rose-marie cahc (1965) depicted in Experiencias No.2 (1975); Eino Ruutsalo's story board for the film, "ABC," (1967) [different original story board for same film held by Sackner Archive]; Konrad Balder Schauffelin's...

Scope and Contents This exhibition, curated by Kornelia Roder, provides an extensive review of Mail Art examples and exhibitions in Eastern Europe. It is well documented with respect to visuals and text. Several practitioners have contributed essays. Among them, Guy Schraenen's "Addressee Unknown" is particularly relevant to the field. He writes, "Although Mail Art was influenced by visual and concrete poetry, a language of pictures internationally understood, it was English that became the language of Mail Art right from the start. This is the reason why you speak of Mail Art rather than of Art Postal, Arte Postale, Arte Correo or Postkunst...Postal items to unknown addressees have created a circle of related minds. Such ties are the grandeur of a worldwide movement of communication. But Mail Art is only a facet of it. Mail Art used to be a fashion, and as a fashion it will again disappear. It has, however enriched the international art scene by numerous works which otherwise would have been...

Scope and Contents

This book depicts visual poetry from 83 participants in 20 countries. Burrus states that his purpose is not to limit or restrict the categories of contemporary visual poetry, but to encourage interpretation and recognize multiple movements within the genre. The Sackner Archive also holds the Archive for this publication. The cover was done by Corpa. This issue is stored in the O!!Zone box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Although his inscription alludes to a second edition, this was not meant to be. In this first edition, first printing, Higgins tells the history of pattern poetry, documenting more than 2000 works. He divides the book by chapters such as Language and Literature, e.g., Greek, Latin, Hebrew, Hungarian, Italian, French, German, Scandinavian, Dutch and Flemish, British, Hispanic, Polish, and Slavic. He also has a chapter on Languages outside European such as Far East, Citrakavyas and other Indian languages, Islamic, and Languages in which no pattern poetry has been reported. In another chapter, he descibes Acrostics, Telestics, Mesostics, Lapidary Inscriptions, Leonine Verse, Magical Inscriptions and Formulae, Mathematical Arrays and Poems, Musical Analogues of Pattern Poetry, Proteus Poems, Rebuses, Shaped Prose, and Sound Poetry. De. Herbert Francke contributes a chapter on Chinese Pattern Texts and Dr. Kalanath Jha on Sandscrit Citrakavyas. Higgins' glossary of terms follows...

Scope and Contents Higgins tells the history of pattern poetry, documenting more than 2000 works. He divides the book by chapters such as Language and Literature, e.g., Greek, Latin, Hebrew, Hungarian, Italian, French, German, Scandinavian, Dutch and Flemish, British, Hispanic, Polish, and Slavic. He also has a chapter on Languages outside European such as Far East, Citrakavyas and other Indian languages, Islamic, and Languages in which no pattern poetry has been reported. In another chapter, he describes Acrostics, Telestics, Mesostics, Lapidary Inscriptions, Leonine Verse, Magical Inscriptions and Formulae, Mathematical Arrays and Poems, Musical Analogues of Pattern Poetry, Proteus Poems, Rebuses, Shaped Prose, and Sound Poetry. De. Herbert Francke contributes a chapter on Chinese Pattern Texts and Dr. Kalanath Jha on Sandscrit Citrakavyas. Higgins' glossary of terms follows below.ABECEDARIAN VERSE: poetry in which the first word of a line, the subject of the line or all the words of the line are...

Scope and Contents Higgins tells the history of pattern poetry, documenting more than 2000 works. He divides the book by chapters such as Language and Literature, e.g., Greek, Latin, Hebrew, Hungarian, Italian, French, German, Scandinavian, Dutch and Flemish, British, Hispanic, Polish, and Slavic. He also has a chapter on Languages outside European such as Far East, Citrakavyas and other Indian languages, Islamic, and Languages in which no pattern poetry has been reported. In another chapter, he describes Acrostics, Telestics, Mesostics, Lapidary Inscriptions, Leonine Verse, Magical Inscriptions and Formulae, Mathematical Arrays and Poems, Musical Analogues of Pattern Poetry, Proteus Poems, Rebuses, Shaped Prose, and Sound Poetry. De. Herbert Francke contributes a chapter on Chinese Pattern Texts and Dr. Kalanath Jha on Sandscrit Citrakavyas. Higgins' glossary of terms follows below.ABECEDARIAN VERSE: poetry in which the first word of a line, the subject of the line or all the words of the line are...

Scope and Contents

This book consists of a collection of essays in its first half written with a highly academic approach to performance. Its second half features experimental writing and layout. Thus, it begins with an essay by Campbell Tatham, " Mythology and Postmodern Fictions: Magic is Afoot," a work characterized as a "verbal" performance by the editors. It is printed with a typewriter font and includes several shaped texts. Another "verbal" performance using the same approach along with concrete poems is found in the essay contributed by Raymond Federman, "Voices within Voices." Finally, Ihab Hassan provides an experimental drama in his essay, "Prometheus as Performer: Toward a Posthumanist Culture?" -- Source of annotation: Marvin or Ruth Sackner.