Consists of a critical introduction of Hubaut's work by Restany followed by an interview of Hubaut which was the subject of a conference held March 28, 1994 at l'l.U.F.M. di Calvados. Restany begins his remarks, "...Joel Hubaut, for he is among the protagonists of the third generation of the postwar period, someone who, precisely, has also identified his work with life. Life, for Joel Hubaut is above all a linguistic phenomenon... Language is like life, it has highs and lows..." -- Source of annotation: Marvin or Ruth Sackner.

Curated by Mari Carmen Ramirez and Hector Olea who organized this first large-scale overview of the avant-garde in Latin America during the twentieth century. Many Latin American works predated artistic works from Europe and the United States and challenged traditional notions of art and science. the catalogue and exhibition are organized into six conceptual areas or "constellations": Universal and Vernacular: Play and Grief; Progression and Rupture; Vibrational and Stationary; Touch and Gaze; Cryptic and Committed. Leon Ferrari contributed an illustrated essay "The Written Word." Hector Olea's illustrated essay on Leon Ferrari is titled "From the Drawing to Texts to the Texture of Poetry." -- Source of annotation: Marvin or Ruth Sackner.

All pages are blank in this version of the booklet with its title perhaps further alluding to the minimalist musical scores of John Cage. This copy may be unique. However, the completed book was published in 1962 but is out of print. -- Source of annotation: Marvin or Ruth Sackner.

Obituary of Jean Brown, whose archive inspired the Sackners to focus their collection on concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

John Furnival's concrete poem "Devil Trip" is the cover design. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of a book first published in 1970, supplemented with a new chronology and catalogues. -- Source of annotation: Marvin or Ruth Sackner.

Most of the illustrations by Harrison depict non-erotic frontal nudity. This book is also designated Jargon 110. -- Source of annotation: Marvin or Ruth Sackner.

This book served as the program for the event described in the title. -- Source of annotation: Marvin or Ruth Sackner.

Hirschman contributes a long critical essay on Mallarme's "Un Coup de Des" and its relationship to Pierre Boulez's "Third Piano Sonata." Hirschman points out that the study of "Un Coup de Des" inspired him to write "Interchange" about Los Angeles in which the pages can be interchanged. -- Source of annotation: Marvin or Ruth Sackner.

Includes one shaped poem on page 127. This is the first edition. -- Source of annotation: Marvin or Ruth Sackner.

This letter page might be a seicond of two that cannot be found. In it, Houedard discusses the religious life of monks as seen from the outside world.The remainder of the letter deals with meeting the person to whom it is addressed. Desmond, a prisoner that dsh befriended is also mentioned. -- Source of annotation: Marvin or Ruth Sackner.

Asks Curtay for information about his "body poetry." -- Source of annotation: Marvin or Ruth Sackner.

The letters reprinted in chronologic order with minimal annotations were selected and edited by Matie Molinari, Corinne McLuhan and William Toye. They provide a background to McLuhans's life and intellectual growth and reveal his staggering knowledge of the literature of the great writers and thinkers who inspired him to achieve his penetrating insights into the age of electronic communication and become its most renowned interpreter. -- Source of annotation: Marvin or Ruth Sackner.

Huth discusses silence in the context of Gomringer's poem, "Silencio" and Cage's music. -- Source of annotation: Marvin or Ruth Sackner.

Tom Phillips' "The Portrait Works" at the Portrait Gallery, London is unfavorably reviewed. -- Source of annotation: Marvin or Ruth Sackner.

Contains major listing of works by John Cage. -- Source of annotation: Marvin or Ruth Sackner.