The analysis of the poem is based upon the version printed in Solt's "Concrete Poetry: A World View," rather than its initial publication in Noigandres 5. -- Source of annotation: Marvin or Ruth Sackner.

Indicates that the National Exhibition of Concrete Art "which was displayed in December 1956 in Sao Paulo and February 1957 in Rio de Janeiro as the first exhibition of Concrete Poetry." Its catalog is held by the Sackner Archive. Cluver analyzes Haroldo DeCampos' poem "Nascemorer." He mentions that Vladimir Dias Pino and Ferreira Gullar broke away from the Noigandres group after its founding to create an ill-defined "Neo-Concretismo" movement. -- Source of annotation: Marvin or Ruth Sackner.

Lectures by Claus Cluver and Roland Greene were presented in conjunction with the exhibition. The header on theis poster reads "Advertising = Poetry." The Sackner Archive lent most of the works to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Announces the lectures presented by Claus Cluver and Roland Greene in conjunction with the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Lectures by Claus Cluver and Roland Greene were presented in conjunction with the exhibition. The Sackners lent most of the works in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Cluver analyzes Willy Correa de Oliveira's music score for Augusto DeCampos' poem "Memos." -- Source of annotation: Marvin or Ruth Sackner.

Cover poem depicts a minimalist letter poem by Aram Saroyan. The dupicate does not have the 5 loose sheets. -- Source of annotation: Marvin or Ruth Sackner.

Claus Cluver provides an introduction that describes the international Concrete Poetry movement. The program for exhibition, film, graphic art and musical performances is presented. -- Source of annotation: Marvin or Ruth Sackner.

Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

Cluver brings out the connections of August DeCampos' colored textural, concrete poems to the colored musical compositions of Anton von Webern. -- Source of annotation: Marvin or Ruth Sackner.

Cluver analyzes the following Concrete Poems: Saroyan's "MM," Gomringer's "Silencio," Xisto's "Epithalamium II," Herrmann's "K8," Pignatari's "LIFE," Plaza's "Organismo Aureo," DeCampos' "Eis Os Amantes," Cage's "Chance: Change," and DeBarrios' "Lingua." -- Source of annotation: Marvin or Ruth Sackner.

This book is number 5 in Word & Image Interactions. REgine Rapp contributes a chapter "Tango with Cows: Russian Futurist Book Art" in which she analyzes the book work of poet and artist Vasily Kamensky, a member of the group called Hylaea. Claus Cluver's essay "Mini-Icons: Letterforms, Logos , Logopoems" refers to the work of the Brazilian poets. Alan Prohm contributes an essay "Resources for a Poetics of Visual Poetry." -- Source of annotation: Marvin or Ruth Sackner.

Cluver analyzes Ivo Vroom's "Homage to Mondrian," with respect to the painting "Victory Boogie-Woogie," including the way that typewriter poetry reproduces the features of the painting. Cluver also compares Haroldo DeCampos' type Concrete Poem "branco branco..." to Mondrian's "Composition with Red and Black" of 1936. -- Source of annotation: Marvin or Ruth Sackner.