Last of the Processual series, this work includes transformations of each of the images in all the fourteen works, which had been published previously. Cobbing also provides documentation for the composition of all these works. He dedicates Processual Quintet to Marvin Sackner "who visited at the time of its publication." -- Source of annotation: Marvin or Ruth Sackner.

Designated Card Series No.11. -- Source of annotation: Marvin or Ruth Sackner.

All the images in this book are abstract. -- Source of annotation: Marvin or Ruth Sackner.

Consists of selected texts by Bob Cobbing 1944-1990. Jennifer Pike, Bob's wife, also writes under the name Jennifer Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

David Barton's introductory essay describes Cobbing's work from 1942 to 1986 as the discovery of new sound and movement in poetry. The works reprinted in this book are mainly abstract xerox images from which Cobbing performs sound poetry. Examples of Cobbing's works in "Destruction in Art Movement," some of which are held by the Sackner Archive are also included. Cobbing denotes his mimeograph (a subclassification of "xerox art" in Archive) as duplicatorprints. -- Source of annotation: Marvin or Ruth Sackner.

Many of the poems in this book, which are generally abstract, were performed by Birdyak (Hugh Metcalfe & Bob Cobbing). -- Source of annotation: Marvin or Ruth Sackner.

Designated Card Series No.27. -- Source of annotation: Marvin or Ruth Sackner.

The Cobbing poems are his typical abstractions with language that serve as sound poems. -- Source of annotation: Marvin or Ruth Sackner.

The images are enlarged finger prints arranged in a grid. -- Source of annotation: Marvin or Ruth Sackner.

This is the reconstruction of the First Duplicator Print (1942) for the purpose of publication in Ceolfirth No.26. -- Source of annotation: Marvin or Ruth Sackner.