This is also designated No.4 of the series "fonemi plastici 1967." -- Source of annotation: Marvin or Ruth Sackner.

These prints by the 17 contributors were photocopied from the collages made from the same letraset fonts distributed to them by Bealieu. -- Source of annotation: Marvin or Ruth Sackner.

The small hand lettering on this collag reads 's i n g' from different angles. When held up to the light a second layer of writing can be seen. The top border is hand cut. The cancelled, red bordered stamps on the poem object commemorate the work of several product designers and are part of the conceptual work of sloy and nic. -- Source of annotation: Marvin or Ruth Sackner.

This is also designated No.3 of the series "fonemi plastici 1967." -- Source of annotation: Marvin or Ruth Sackner.

Designated folder number four. Works are new versions of "Tan Tandinane," "Wan Do Tree," "Alphabet of Fishes," "M," and "Oslo Solo." This is the second edition of this anthology first published in 1968. Cobbing notes the following: Why publish sound poems in visual form - because the pattern of sound which is the sound poem often makes an interesting pattern on the page...the poem exists in many forms aural and visual...becomes perhaps many different poems. -- Source of annotation: Marvin or Ruth Sackner.

Designated folder number four. Works are new versions of "Tan Tandinane," "Wan Do Tree," "Alphabet of Fishes," "M," and "Oslo Solo." This is the third edition of this anthology first published in 1968. Cobbing notes the following: Why publish sound poems in visual form - because the pattern of sound which is the sound poem often makes an interesting pattern on the page...the poem exists in many forms aural and visual...becomes perhaps many different poems. -- Source of annotation: Marvin or Ruth Sackner.

Designated folder number four. This fourth edition contains new versions of the following poems: Tan Tandinane, Wan Do Tree, Alphabet of Fishes, 'M. -- Source of annotation: Marvin or Ruth Sackner.

Designated Chapbooks No.12. The author is also known as Jennifer Pike. -- Source of annotation: Marvin or Ruth Sackner.

There is an explanation and translation of the concrete poems in English at the back of the book. -- Source of annotation: Marvin or Ruth Sackner.

Reprinted from Stereo Headphones No.5, 1972. The authors debunk the assertion of Stuart Mills who in Akros No.18, 1972 stated that the poem-poster was introduced by Ian-Hamilton Finlay. They go on to further describe the pioneers of Concrete Poetry in their opinion. Rebuttals to their conclusions by Stephan Bann and Henri Chopin are also published. Mentions that Ernest Fenellosa, who died in 1908, used the term 'concrete poetry' in an essay, 'The Chinese Character as a Medium for Poetry' in 1901. -- Source of annotation: Marvin or Ruth Sackner.

These poems were written by students at Epping Forest High School, Loughton, Essex, when Bob Cobbing was the visiting poet. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Peter Finch. This is issue No.1 of Second Aeon Folder series; the second and final number, J.P. Wards's "From Alphabet to Logos," is also held by the Sackner Archive. In the introduction, Cobbing describes how he altered the found poems in this work to their final form. -- Source of annotation: Marvin or Ruth Sackner.

Brilliantes used typewriter characters to create distinctive shapes from the characters alone, viz. cats, dogs, lions, tigers, giraffes, bedbugs, girls with hula hoops, farmers, toothbrushes, scissors, pans etc. His images are quite unique in typewriter art and poetry and there are no other examples like his in the Sackner Archive. This book is stored in the same portfolio box as Bridgwater's "Typograms." -- Source of annotation: Marvin or Ruth Sackner.

The book is an expansion of a print (Four People) that depicts a story akin to "it didn't happen on my shift!" -- Source of annotation: Marvin or Ruth Sackner.