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Claire dscusses performances and sound poetry. -- Source of annotation: Marvin or Ruth Sackner.

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Designated ICPA Publication No.14. -- Source of annotation: Marvin or Ruth Sackner.

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Made by the scorch marks of a soldering iron. -- Source of annotation: Marvin or Ruth Sackner.

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This is a historic survey of women that have used language in art as well as women who are concrete and visual poets. -- Source of annotation: Marvin or Ruth Sackner.

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Designated Object Poems No.4. Performed at the 11th International Festival of Sound Poetry, Glasgow, Scotland, May 1978. -- Source of annotation: Marvin or Ruth Sackner.

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Designated ICPA Publication No.25. Poems were created with the aid of a Mackintosh computer and were used to illustrate the course that Claire taught at Oxford University, "Poetry & Electronics," January 1989. -- Source of annotation: Marvin or Ruth Sackner.

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In the intrroduction, Claire provides directions as to how the poems should be performed. -- 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...

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The poem is by Claire (composed in 1981) and the calligraphy by Spencer. Isabelle Spencer (1924-2011) was a teacher in the British school system and a calligrapher. The other copy of this book is owned by Paula Claire. The poem is in the poetic style of naming ships by Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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This is No.19 in the series published by International Concrete Poetry Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Designated ICPA Publication No.8. This is a performance piece created for New Music America, Houston, Texas 1986 done in collaboration with the Paxton group of musicians. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated ICPA 8. There is also a book with the same title. This is a performance piece created for New Music America, Houston, Texas 1986 done in collaboration with the Paxton group of musicians. -- Source of annotation: Marvin or Ruth Sackner.