Scope and Contents

Edited by Peter Ganick. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Paul Collins and Simon Moor were responsible for the design of this poster, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the introduction to this book, McCaffery comments as follows. "Panel Two is largely an expression of language emerging into conflict and internecine statement conveyed in the variety of mechanical means of expression that's employed. It was predicated on a felt implication in Saussure's assertion that language is differential and oppositive at its base. Having discovered, explored and tested the parameters of the typewriter in Panel One, Panel Two places the typed mode in agonistic relation with other forms of scription: xerography, xerography within xerography (i.e. metaxerography and disintegrative seriality), electrostasis, rubber-stamp, tissue texts, hand-lettering and stencil. The compositional problem was in finding a form large enough to accommodate these conflicts and what arose as a solution was the interlocking single page to form a sixteen unit panel with the offset book format (to be abandoned in the process of assembling the panel) constituting the final stage in...

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This print was made by overprinting Panels I & II of the original Carnival texts. -- Source of annotation: Marvin or Ruth Sackner.

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In a note at the end of the book, McCaffery indicates that the poems were composed based on existing texts and chance operations. The top of the spine of this copy of the book is missing. This is McCaffery's second book. -- Source of annotation: Marvin or Ruth Sackner.

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Probably published in an edition of 400 copies. The title on the cover is "Collborations" and that on the title page "collbrations." -- Source of annotation: Marvin or Ruth Sackner.

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McCaffery provides an guide for interpreting the poem that constitutes this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poems were composed from found texts that were altered by McCaffery as a result of chance operations. The colored concrete poems on several pages scattered throughout the book that employ large and varied typefaces were designed by Robert MacDonald. -- Source of annotation: Marvin or Ruth Sackner.