Reproductions of examples of concrete poetry; one copy printed on white and the other on yellow stock. -- Source of annotation: Marvin or Ruth Sackner.

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 manuscript was submitted to Eugen Gomringer for publication in his periodical, konkrete poesie, but was not published because the series terminated prematurely. Bayer's manuscripts are extremely rare since he died at the young age lof 32 years in 1964. -- Source of annotation: Marvin or Ruth Sackner.

Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing discusses the early concrete poems of Ian Hamilton Finlay, John Furnival, Kenelm Cox, Dom Sylvester Houedard, and Tom Edmonds in depth. This essay is unbpubished. -- Source of annotation: Marvin or Ruth Sackner.

This essay was published in "The Times Literary Supplement" No.3,258 August 6 1964 in a slightly modified form from this manuscript. The Sackner Archive holds this issue of TLS. -- Source of annotation: Marvin or Ruth Sackner.

This work refers to Gomringer's quotation of 1953 "O" as the constellations as the symbol as nothing. -- Source of annotation: Marvin or Ruth Sackner.