Bridget Riley did the drawings and layout, Ad Reinhardt the text and calligraphy. -- Source of annotation: Marvin or Ruth Sackner.

Perloff states "It is the paradox of postmodern genre that the more radical the dissolution of traditional generic boundaries, the more important the concept of genericity becomes. "Hubert contributes an essay critically analyzing the book "Une Piece Ciruclaire" and Perloff one on Cage's "Roaratorio;" both books are held by Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Book describes the craft of letterpress printing. -- Source of annotation: Marvin or Ruth Sackner.

This book is a history of Portuguese poetry. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of a collection of anti-religious establishment essays. -- Source of annotation: Marvin or Ruth Sackner.

This book is a collection of brief, critical essays. -- Source of annotation: Marvin or Ruth Sackner.

Reproductions of paintings by Mark Rothko and Mark Toby are included in this book. -- Source of annotation: Marvin or Ruth Sackner.

Ferdinand Kriwet contributed an introductory essay, "Decomposition of the Literary Unit: Notes on Visually Perceptible Literature" that traced the historical antecedents of concrete and poetry. This is followed by an illustrated section on his own linguistic and compositional techniques involving circular concrete poems, "Rundsheiben." "Walk Talk," a vinyl, floor covering, a portion of which was given to the Sackners by Kriwet is depicted in the book.Kriwet defines his term "Sehtext" as a solution to the problem of visually perceptible literature. It is the tension between the physical act of seeing and the intellectual one of reading. Seeing is a process of perception; reading is the reaction to it. -- Source of annotation: Marvin or Ruth Sackner.

Perloff demonstrates that contempory experimental poetry is highly influenced by the media of television, sound bytes and billboards. Taking an historical approach, she notes that the speech base is no longer the common speech of Yeats and Eliot but the personal utterance of the poet. She cites Charles Olsen in his manifesto "Projective Verse" (1950) who stated that "breath allows all the speech-force of language back in (speech is the solid of verse, is the secret of a poem's energy) p.34. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue doocuments the first major retrospective of Hausmann's work for the exhibition that was shown in the three countries in which Hausmann lived, France, Germany and Spain (Ibiza). Several scholary essays are included in the catalogue tracing his early years as a Dadaist, collages and photomontages, the photographic works, sound poetry, abstract paintings and later Dada works. Chistopher Phillips essay, "In the Chaotic Cave of the Mouth," describes Hausmann's sound poems, which are considered "among the most difficult and perplexing" of this "recondite genre." -- Source of annotation: Marvin or Ruth Sackner.

Although Gerz began as a visual poet, his later work dealt often with the events of the Holocaust. Gerz's public works frequently took the form of interviews and participation of the viewer. -- Source of annotation: Marvin or Ruth Sackner.