The object consist of colored plexiglass letters suspended with a plexiglass hook. -- Source of annotation: Marvin or Ruth Sackner.

The paper base for this drawing is a sketchbook page. The disjointed lettering between the Laugh and Scream is reminiscent of the some of the paintings by Tim Rollins + K.O.S. and Didier Mutel's book, "The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson." -- Source of annotation: Marvin or Ruth Sackner.

The paper base for this drawing is a sketchbook page. -- Source of annotation: Marvin or Ruth Sackner.

The paper base for this drawing is a sketchbook page. The disjointed lettering between the Laugh and Scream is reminiscent of the some of the paintings by Tim Rollins + K.O.S. and Didier Mutel's book, "The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book are mainly sound poems from made-up words. The afterward consists of an essay about Jandl's work by Helmut Heissenbuttel. There are slight differences in the layout of the poems and their order in this edition compared to its second publication in 1971. For example, the same poem on pages 194 and 195 of this edition (1966) is laid out on page 190 in the second edition (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book are mainly sound poems from made-up words. The afterward consists of an essay about Jandl's work by Helmut Heissenbuttel. There are slight differences in the layout of the poems and their order in this edition compared to its first publication in 1966. For example, the same poem on page 190 of this edition is laid out over facing pages 194 and 195 in the first edition (1966). -- Source of annotation: Marvin or Ruth Sackner.

This book provides a sampling of Scherstjanoi's oeuvre from 1982-2008. -- Source of annotation: Marvin or Ruth Sackner.

This is the lay-out for a poster announcing a poetry reading that was curry's first. curry and essary's contributions to the poster were photocopied fragments and Dudley's an ink drawing. -- Source of annotation: Marvin or Ruth Sackner.

Peignot provides examples of word-images along with comments in an alphabetic listing. He uses alterations of letter spacing and boldness of the Futura typeface, repetition of letters, anagraphic presentation, variations in the arrangement of letters, mirror imaging, and punctuation marks to enhance and visually define the meaning of words. The poems are related to those found in another book published by Peignot in the same year, Toutes les Pommes se Croquent. Both books are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is an inclusive historical survey from 1963-1968 of the concrete/spatialistic poetry composed by the authors. -- Source of annotation: Marvin or Ruth Sackner.

Ruth Sackner delivered this lecture at the opening of Bob Cobbing's Exhibition "Make Perhaps this Out Sense Of Can You." It focused on the relation of Mathew Abess, the curator of the exhibition and the Sackners. -- 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.