ArchivesSpace at the University of Iowa

Camoron in a personal communication notes that these pages contain "suggestions for everyone I shd invite to contribute to 'oxpo" - the expo at Oxford I curated - with my notes & check marks, perforated for use in a binder, not graphically interesting but packed with names & comments on concrete poets &c." Houedard comments in this letter"now this time yiou better REALLY get me in touchw/ this stinking FAMILY & none of your branchmanagers..." Houedard mentions Suzanne Bernard and her galerie in Paris but it is no longer in business (2014). -- Source of annotation: Marvin or Ruth Sackner.

This catalogue features experimental calligraphic paintings by Ben Bella, Brion Gysin, Jean Degottex, Shakir Hassan, and Lee I-Fan. William Burroughs' interview of Brion Gysin is titled "Points de Passage." Pierre Restany contributed an essay on the work of Lee U-Fan. -- Source of annotation: Marvin or Ruth Sackner.

In a letter to Marvin Sackner sent with this catalogue, Axel Malik writes, "As this catalogue has an English translation as well, it might be of interest to you. It features my biggest work of 'concrete writing', a piece of enormous dimensions, 6,20 meters wide and 20 meters long. As you can see on one photo on my web-site, the help of mountainclimbers was needed for the installation at the Broadcast-Studio of the SWR. During the exhibition it was possible to travel along the work by taking an transparent elevator. With best wishes and greeting, Axel." The catalogue coincided with exhibitions at the Dombibliothek Hildesheim in 2003 and SWR Studio Freiburg in 2004. Included is an interview between Elamr Zorn and Axel Mmalk on December 11, 2004 in the SWR Studio Freiburg. -- Source of annotation: Marvin or Ruth Sackner.

This article describes the background and calligraphic work of George Fitzpatrick, a Cleveland artist. Pekar mentions that he managed the Continental Theater in Cleveland at the time that d.a. levy sold his publications in its lobby. -- Source of annotation: Marvin or Ruth Sackner.

Gysin is interviewed by Wilson, with an introduction by William S. Burroughs. They discuss Morocco, magic, science, literature, painting and music. -- Source of annotation: Marvin or Ruth Sackner.

Houedard continues to write/type to Cincola 3 about corrections to be made for catalog.His corrections are marked out in green ink through out the page -- Source of annotation: Marvin or Ruth Sackner.

Houedard continues to write/type to Cincola 3 about corrections to be made for catalog.His corrections are marked out in green ink through out the page -- Source of annotation: Marvin or Ruth Sackner.

This is the reproduction of a diary kept by the artist on a trip to Istanbul, Turkey. The dust jacket that has been designed by Weimann depicts repetitive green calligraphic markings. -- Source of annotation: Marvin or Ruth Sackner.

Arnold Lehman contributes an opening essay on the methodology and background of Diane Samuels Luminous manuscript. In it he quotes Samuels as explaining that "arranging an alphabet in an order is an original cultural act. Repeating the alphabet represents a basic ordering and care for language that is possible to all. An Issac Luria story tells of his meeting a man whose prayers were particularly efficacious. The man could not read or write but he could recite the alphabet, so he asked God to take his letters and form them into prayers." The Sackner Archive holds this book by Samuels in which each stitched page displays this saying in a different language. -- Source of annotation: Marvin or Ruth Sackner.

Huth compliments Sackner on his revised web site and indicates that he used marginalia feature to correct several entries. -- Source of annotation: Marvin or Ruth Sackner.

This book annotates a selection of Sackett's books. -- Source of annotation: Marvin or Ruth Sackner.

The book reproduces several Hebrew-like calligraphic drawings. -- Source of annotation: Marvin or Ruth Sackner.

Charles Cameron writes that these pages are "numbered by hand, with many dsh correx + typesetter's markups for 'the flip side of language' -- looks like it might be dsh's entry for the issue of the Oxford mag ISIS on concrete poetry which I edited, but I don't have a copy for comparison & it's hard to say..." This essay appeared in ISIS No.1507, 1966, a periodical hels by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This essay is another copy of the manuscript with slightly different handwritten correctionss and appeared in ISIS No.1507, 1966, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Gaze explains in his introduction that his texts are improvised asemic texts which means no semantic content. Composed of writings from other languages and made up works by the artist, they incorporate writing and an infra-verbal level. Gaze notes that asemic texts have no writer-intended meaning. "If you the viewer perceive a meaning, you've created that meaning yourself." -- Source of annotation: Marvin or Ruth Sackner.

Artists response to Gaze's work is published as part of "A Symposium Emerging from Tim Gaze" is added as an afterward. It was organized by JIm Leftwich and probably wholly written by Leftwich for the "Institute for Study and Application at Kohoutenberg." -- Source of annotation: Marvin or Ruth Sackner.