Critical text
Found in 277 Collections and/or Records:
Cal-ligrames poeticovisuals, 2002
Laura Lopez Fernandez wrote the introduction to this catalogue. She visited the Sackner Archive in December 2002. -- Source of annotation: Marvin or Ruth Sackner.
Cantar Del Huff; A Bilingual Edition, 2006
C'Arte d'Artista: Grafica e Libro d'Artista 1970-2000, 2000
Che Cos'e il Libroggetto, 1989
Publication includes reproductions of A. Dupont's "Nathalie et Justine" and "L'Art en Ciel," and I. Isou and A. Dupont's "Concerto pour Oeil et Oreille" which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Chiaro Scuro, 1994
This book reprints poems by Lora-Totino composed from 1970-1984. Garnier contributed an introduction. -- Source of annotation: Marvin or Ruth Sackner.
Chimaren, 1998
This exhibition catalogue lists Andryczuk's personal publications and provides illustrations of them that are ofter tipped-in. It also lists publications of other poets that he has published. -- Source of annotation: Marvin or Ruth Sackner.
Chorus: romanzo per voci a battuta libera, 1990
This book is a score for performance and sound poetry. The compact disc by Fontana entitled "Il gioco delle voci" consists of three tracks of sound poems. These feature words, utterances and multiple voices. -- Source of annotation: Marvin or Ruth Sackner.
Cinerama, 1982
Codex Seraphinianus, Hallucinatory Encyclopedia / Schwenger, Peter; Serafini JL; Mallarme S; Borges J., 2001
Schwenger provides a critical analysis of the book, "Codex Seraphinianus" by Luigi Serafini (a work held by the Sackner Archive) . -- Source of annotation: Marvin or Ruth Sackner.
Collages and Drawings 1917-1931, 1984
Collected Poems Volume Sixteen: Shrieks & Hisses / Cobbing, Bob, 1999
Collected Poems Volume Thirteen: Voice Prints / Cobbing, Bob ; Mottram E ; Higgins D ; Solt ME ; Claire P ; Griffiths B ; Fencott PC ; Metcalfe H., 1993
In his introduction, Eric Mottram writes that "Voice Prints is for voice performance, and looking or meditating performance...[The] poem-texts or poem-images continue Bob Cobbings's experimental achievements with many uses of words, word-orders and word designs." -- Source of annotation: Marvin or Ruth Sackner.
Comment juger de la valeur d'une oeuvre d'art, ou le reclassement creatif de la culture du passe, 1984
No.24 of series "Documents Lettristes." -- Source of annotation: Marvin or Ruth Sackner.
Commentaries on Meister Eckhart Sermons, 2000
Although known as a concrete poet, critic, translator, and artist in the art and poetry worlds, Houedard was also well versed in religious thoughts and traditions. Educated in the Christian monastic and contemplative traditions, Dom Sylvester had a deep knowledge of many forms of belief, which he saw as different expressions of a single wisdom. A pioneer of the wider ecumenism, he had active contacts with Tibetan Buddhism and the work of the great Islamic mystic Muhyddin Ibn' Arabi. In these talks given near the end of his life, Dom Sylvester illuminates the meanings embedded in six of Eckhart's greatest sermons. -- Source of annotation: Marvin or Ruth Sackner.
Commentario, 1985
This book depicts and annotates Carrega's seminal work, entitled "50 modelli d'uso" that was shown the first time at Mercato del Sale in May 1978. It was remade in 1981 with 45 pieces in an edition of three copies and the Sackner Archive holds one of these editions in a specially made box. -- Source of annotation: Marvin or Ruth Sackner.
Conversation without Feldman ., 1980
[Curriculum Vitae and Publications], 2000
Soroka presents his biography and a reprint "Visual Poetry in Ukrainian Literature," from the Ukrainian Review, 1998, Vol.45, No.1. There are also examples from early Ukrainian and European visual poetry and the recent works of Soroka. -- Source of annotation: Marvin or Ruth Sackner.
d.a. levy's " destructive writing" and the Instant of Communication, 1998
Swanberg (aka Markhardt) analyzes levy's poem, "Selected Writings" of 1967, "in which no images appear and in which the words and lines bleed with a superabundance of black mimeo ink ringed by a faint aura of oil...The poem's destructive writing is a putting to death of words. Its realm is without mastery, without time. It is the instant of a complete spending, in which words are sacrificed and the poem IS." -- Source of annotation: Marvin or Ruth Sackner.
