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The meaning of the concrete poems that are printed on different colored paper stock is enigmatic. The tipped-in sheet reproduces an essay on Belloli's work by Max Bense. -- Source of annotation: Marvin or Ruth Sackner.

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This is an issue printed after the regular run of the periodical that ended with No.22. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This issue includes a Glyn Pursglove's essay, "An Introduction to Concrete Poetry." He states "The phrase 'Concrete Poetry' is bandied about a great deal in a way which seems to suggest that all those to whom it is applied are part of a conscious, united movement, and that they are artists whose work is dictated by a set of common and explicit principles. As anyone with any understanding of artistic 'movements' will readily imagine, this is a superficial and misleading idea. Certainly there have been plenty of explicit statements by some of the poets involved but these have, naturally, attracted as many opponents as supporters. One of the most important of such statements was 'POSITION 1 of International (Movement) for Spatial Poetries" organised by, among others, Pierre Gamier. This was not quite a manifesto, in the sense of a document proclaiming plans for the future, but rather a formalisation of a situation. Gamier was fully conscious of the difficulties, and his closing words...

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The colophon states that the first 100 copies were numbered and signed by all the contributors. This copy is not in this first series and the incomplete list of signatures was obtained by the previous owner some time after the book was published. This book is a Festschrift in honor of Helmut Hessenbuttel; it is also designated Portrait 1 in a series by the publisher. -- Source of annotation: Marvin or Ruth Sackner.

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Handwritten corrections and additions were made by Max Bense. Stored together with other Archival materials for this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Includes announcements of various publications by Edition Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Michael Glasmeier who provides a profusely illustrated survey of artist books in Germany since the sixties. -- Source of annotation: Marvin or Ruth Sackner.

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The picture depicted on page 27 is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Description of book from the inside dust jacket: "Liselotte Gumpel brings to her interpretation of these two strains of poetry a solid grounding in language and cultural history as well as fresh and unbiased perceptions about the poems themselves. She offers historical background, draws connections with literary concretism's antecedents in visual arts and music, and usefully applies the semiotics of Max Bense and C.S.Peirce in her descriptions of the "dicentic genres" of the East and the "rhematic connexes" of the West. Under the rubrics of teleological humanism and creative zest she explores the shaping traditions of the two movements. A chapter on significant anthologies from East and West Germany concludes her survey." The dust jacket depicts a mandala by Kriwet that Gumpel characterizes as a "Round Disc." -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Limes Nova 1. This is the second edition of the book first published in 1964. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Pocket 26. -- Source of annotation: Marvin or Ruth Sackner.

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The loose sheets appear to be notes for a collaborative project by Spatola (deceased) and Pavanello. Maurizio Spatola adds a critical note and Niccolai is interviewed about Tam-Tam. -- Source of annotation: Marvin or Ruth Sackner.

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Provides list of publications by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.