ArchivesSpace at the University of Iowa

Scope and Contents

Johanna Drucker contributes an introductory essay on historic aspects of visual poetry which is carried forth to multimedia information systems of today. She also was responsible for the cover design. Karl Young contributes an afterword in which he focuses on mail art. He particularly addresses his own, ongoing Shadow Project that refers to the faint traces people left on nearby surfaces after they were vaporized by the atomic bombs in Japan. Young indicates that d.a. levy stands out as the major figure in the last three decades who left an indelible inprint on underground publications and visual poetry. He also adds that Tom Phillips is the most complete book artist. The Sackner Archive partially funded this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Weiss' book, "Visual Voices: The Poem as a Print Object," 1994 consists of poems appropriated from ancient and classic poems that have been rearranged or altered in their presentation as typed artpoe to convey new meanings mainly based mainly on concrete poetic or conceptual text expressions. He provided an explanation for each of 71 poems published in the book as well as 28 unpublished poems in the typed manuscript. He classified his styles of typed artpoe with headings such as zipperpoem, caressed and overloved poem, telegram poem, etc. He altered poems from such stalwarts as Andrew Marvell, William Wordsworth, Robert Browning , Alfred Tennyson, and John Keats among others. VISUAL POETRY BY IRVING WEISS Team Sonnet: 14 Lines by 14 Different Canonical Poets from Visual Voices: The Poem As a Print Object Appease this virtuous enemy of man (MARVELL) The way which thou so well hast learn'd below, (DRYDEN) And dwell, as in my center, as I can, (JONSON) As into air the purer...

Scope and Contents

These poems constitute those that were not used for the published book of Visual Voices. They have the same format as the published version, an introductory page (listed as laser generated, typed in media description) that provides an explanation and designation followed by Weiss' typewritten rearrangement presentation of the poem taken from classics. -- Source of annotation: Marvin or Ruth Sackner.

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This poem appears to be a melange of Weiss' own poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprint of selected sections of the book with the same title. -- Source of annotation: Marvin or Ruth Sackner.

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Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Weiss defines concrete poetry as poetry "in which the word and sometimes the letter, and even unidentifiable but vaguely pseudo-alphabetical shapes become the basic element- syntax being mostly or entirely abandoned." In this volume, Weiss has rearranged, splintered, interfaced, shaped, cancelled conventional poetry composed by classic poets thereby "creating poems intended as self-conscious utterances whose purpose is to express the relation of traditional verse to its own medium of print." -- Source of annotation: Marvin or Ruth Sackner.