Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember." This is Cobbing's manuscript essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

This letter is a lengthy polemic in which Cobbing argues with Chopin's assertions on contesting the history of sound poetry. He dates and mentions his own performances of sound poetry from his first attempts in 1942. He argues with Chopin on the dating of the works of Heidsieck, Wolman, de Vree, Lockwood, Dufrene, Gysin and Jandl. -- Source of annotation: Marvin or Ruth Sackner.

Each internal page of the leaflet has a single, hand painted, artist stamp collaged onto it. The work was done concurrent to an exhibition "Lettrisme & Hypergraphie" held at the Galerie Stadler in 1964; the Sackner Archive holds the ordinary and deluxe edition of this catalogue. According to Frederic Acquaviva, all of the drawings were done by Jacques Spacagna including the forging of signatures. -- Source of annotation: Marvin or Ruth Sackner.