Wikipedia: Jean Maurice Eugène Clément Cocteau( 5 July 1889 "“ 11 October 1963) was a French poet, novelist, dramatist, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants terribles (1929), and the films Blood of a Poet (1930), Les Parents terribles (1948), Beauty and the Beast (1946) and Orpheus (1949). His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Henri Bernstein, Yul Brynner, Marlene Dietrich, Coco Chanel, Erik Satie, María Félix, Édith Piaf and Raymond Radiguet. Houedard's epitaph to Cocteau probably relates to pace, the Latin word for peace. -- Source of annotation: Marvin or Ruth Sackner.

This depicts working ideas for Frog Pond Plop, later realized in a different form as Opening Number No.6, 1965 and is stofred in the drawing binder. The typing of this work is stored in the typing binder. -- Source of annotation: Marvin or Ruth Sackner.

Dom Sylvester Houedard's introduction to the catalogue is printed directly from his typescript with handwritten additions as it "arrived too late to typeset due to unreliable postmonk at the abbey." Cox's "Suncycle," in the motorised edition, was displayed in this exhibition. A non-motorised version is held by the Sackner Archive. Stored with Kenelm Cox's portfolio "A Memorial Folder." One copy is stored in with Houedard manuscripts. -- Source of annotation: Marvin or Ruth Sackner.

Houedard used clusters of commas, open end parentheses, quotation marks, Q's, o's, T's and periods to compose this piece. -- Source of annotation: Marvin or Ruth Sackner.

This is a typed poem that resembles a landscape by spelling out the title that translates to "literary passage." -- 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.

Houedard begins letter with "i always seem to be emptying the commode when you appear on the steamradio - the cuba scene came over well...He also writes "they are doing my ballet sometime - roundhouse? the slab? - called 'the cosmic typewriter - a somantic diversion." In a handwritten note of the margin, Houedard writes, "this is terrible invicta typewritter - not at all cosmic" -- Source of annotation: Marvin or Ruth Sackner.

Deals with definitions of typewriterart, machine poetry & poetry machines as a preamble to a letter to Jasia Reichert regarding an introduction for his lecture at the ICA for which the Sacknaer Archive holds the printed announcement. Houedard claims that '...this is the FIRST lecture on typewriterart - you may say i 'invented' typewriterart - is not sure i did i certainly invented (?) FREEROLLER typing - now - if you know ANYONE of the olivettis then do get them along & add to the notesthat a i use an olivetti lettera 22 - & bi doubt if ANY OTHER MACHINE is organised so as to give the right controls' -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

This piece is a tour de force of letter writing that includes several of Houedard's poems, most typed earlier as separate poems. -- Source of annotation: Marvin or Ruth Sackner.

Mentions homage to Ronald Firbank at Lisson Art Gallery; letter has a sketched concrete poem. -- Source of annotation: Marvin or Ruth Sackner.

The letter is addressed to "my dear hot & cold & loved both." Houedard mentions that he is in the process of moving rooms and includes a typewriter poem (020268).The verso of the letter contains the handwritten phrase "hoppy & the cheese" on the top and repeated on the bottom of the page. -- Source of annotation: Marvin or Ruth Sackner.

Houedard writes to Wendy and John Sharkey about receiving "tlatoc from cav this morning most glad to hear him say you very exceedingly ok bloke (his very own words)." Else where the letter contains several critical references to writers and publishers in scatological language.Two lines at the top left of the page read, "i go for yr/windywetmoor." -- Source of annotation: Marvin or Ruth Sackner.

Houedard has included two reconstructed abc-rhymes and a new one -" u k rhyming scheme." His letter refers to several early Christian poets writingn in Latin in appoximatley 200 to 600AD. HOuedard writes that Venantius Fortunatus " got there before later people did" in composing and being a foreruner of poster poems. This material deals with his contribution to Cobbing and Mayer's book, 'Concerning Concrete Poetry', with specific respect to chronology. -- Source of annotation: Marvin or Ruth Sackner.

Implores Abrams to write to him and mentions that Albert-Birot will be visiting London. Both steve's at the salutation and houedard's signature are typed after the form of the poster poems composed by Albert-Birot in the 1920s with a sem-circle of s's and r's, respectively. -- Source of annotation: Marvin or Ruth Sackner.

Letter deals with a Nitsch (Vienna Action Group) performance that resulted in an obscenity charge by the English legal system and the sending of 3 typestracts to the "Bennington." Mentions that galleries usually charge $15.00 each and that he wants transparency of any item sold. States that Watford College wants him to do typestracts - i.e. not semantic poems and wants response if request is for poems "w/oldfashioned words." -- Source of annotation: Marvin or Ruth Sackner.