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.

The essay written by Stephen Bann on the back inside folder explains the metaphor of grouping designs of hulls of sailing ships like sea shells in a display case. Proctor is a ship designer and Costley the artist who made this print. -- Source of annotation: Marvin or Ruth Sackner.

The photographs of the sculpture in Finlay's garden were made by Dave Patterson. Two brief introductory essays by Bernard Lassus and Stephen Bann are included in the first four pages. The remainder of this book consists of photographs. -- Source of annotation: Marvin or Ruth Sackner.

This book summarizes the theories about who was Shakespeare. -- 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.

All the cards depicted in this book are held by the Sackner Archive. Futher, about five times more cards by Finlay are held by the Sacknsr Archive. -- Source of annotation: Marvin or Ruth Sackner.