ArchivesSpace at the University of Iowa

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This is a revised and enlarged version of Chicago Review, Vol.19, No.4. -- Source of annotation: Marvin or Ruth Sackner.

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In this book, Pie (TT) O selects a Chinese ideogram and alters it so it becomes a recognizable English word or visual image. -- Source of annotation: Marvin or Ruth Sackner.

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The titles of the poems are Literature, Avenging, Migration, Movements, Nuclear Fears, Wake, Eugenics, Radical Actions, Hushed Silence, and Army. -- Source of annotation: Marvin or Ruth Sackner.

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Stored with two other Niikuni photographs as a card set. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Stored with two other Niikuni photographs as a card set. Wikipedia: Seiichi Niikuni (新国誠一 Niikuni Seiichi, December 7, 1925 "“ August 23, 1977) was a Japanese poet and painter. He was one of the foremost pioneers of the international avant-garde concrete poetry movement, creating works of calligraphic, visual and aural poetry. He is recognized as one of the most important poets of recent times in Japanese and German textbooks. In 1964, Niikuni participated in the E. E. Cummings study group held in Yukinobu Kagiya's house, and met Yasuo Fujitomi while there.[6] On June 4, he established an association called the Association of Study of Arts or ASA (芸術研究協会 Geijutsu KenkyÅ« Kyōkai) with Fujitomi with the objective of exploring and experimenting with concrete poetry. They published a namesake magazine ASA and in it introduced both Japanese and foreign concrete poetry, and also translated poems by Haroldo de Campos into Japanese. Fujitomi would also introduce the...

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Szymzczak made the three silkscreen pages (recto-verso). -- Source of annotation: Marvin or Ruth Sackner.

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Szymzczak made the three silkscreen pages (recto-verso). -- Source of annotation: Marvin or Ruth Sackner.

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The map on the cover was drawn by pete spence. This issue is a compilation of visual and concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

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Solt introduces the two concrete poems by stating that the code poems are derived from the universal language of signs and symbols that have been used from ancient times to the present as taken from the subjects of the alphabet, astrology, astronomy, botany, chemistry, commerce, engineering, mathematics, medicine, music, physics, punctuation, runes, zoology, etc. She provides a key to the ideograms that render the rebus to be deciphered. -- Source of annotation: Marvin or Ruth Sackner.

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Solt introduces the two concrete poems by stating that the code poems are derived from the universal language of signs and symbols that have been used from ancient times to the present as taken from the subjects of the alphabet, astrology, astronomy, botany, chemistry, commerce, engineering, mathematics, medicine, music, physics, punctuation, runes, zoology, etc. She provides a key to the ideograms that render the rebus to be deciphered. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Betty Leirner. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Betty Leirner and Fulvia, her mother. -- Source of annotation: Marvin or Ruth Sackner.

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A reproduction of this drawing is depicted in Clemente Padin's "Signografias Y Textos 1967 - 1970" (1970) and in Clemente Padin's "Visual Poems 1967-1970" (1990). The drawing is printed upside down in Visual Poems 1967-1970 (1990). -- Source of annotation: Marvin or Ruth Sackner.