C.C. Elian (Christine) uses a personal invented calligraphic alphabet; its key is printed in a pamphlet held by the Sackner Archive. The text bordering the small photograph in the center of this picture above a diagram begins: We were as stangers/ Gathered by sudden night, it was years and yesterday, Already the lost sight/Of details so telling, Letters falling/To phrases spelling, The subjects and objects/The stories we made, Each within glass houses, Twin souls in a slow serenade... -- Source of annotation: Marvin or Ruth Sackner.

A section deals with activities of Roberto Altmann 1963-1973 and another with the Labyrinth. -- Source of annotation: Marvin or Ruth Sackner.

In this issue, Gette discusses and photographs with flower and fauna in Liechtenstein. -- Source of annotation: Marvin or Ruth Sackner.

From the back cover: "Appeal in Air is a poem for lost voices - a suicide overheard: a list of poets: a valedictory call of bird names. Davenport uses the spreadsheet as poetic form, collaging lines, random data, birdsong." -- Source of annotation: Marvin or Ruth Sackner.

Pierre Garnier contributed an essay on Spatialism, a designation for his own style of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The musician, artist, and thinker presents an enigmatic, enchanting collection of mental maps. An eclectic blend of faux science, automatic writing, self-analysis, and satire, A journey through irrational logic - the application of scientific rigor and form to basically irrational premises, proceeding from careful monsense to unexpected sense. Whateaver you imagine can come to pass. There is absolutely no reason to discount anything, anywhere. Straight from the sketchbook, smudges and all, plus a four-foot foldout guide. David Byrne explains his 85 diagramatic graphite drawings in the pamphlet that is bound into the back cover. -- Source of annotation: Marvin or Ruth Sackner.

This work is listed in the "Chronology of Visual Poetry" section published in bob cobbing & peter mayer's book, concerning concrete poetry (1978). It was a revision of an article written by Houedard for the "Between Poetry and Painting" exhibition. The manuscript and book of the latter is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a spoof on marks made on gallstones by Coca Cola. -- Source of annotation: Marvin or Ruth Sackner.

The page that defines "Materialism" contains an actual collaged dollar bill. The word "God" is cut out and pasted several inches from the dollar bill. A row of small letterpress $$$$$$$'s is next to the word 'God." -- Source of annotation: Marvin or Ruth Sackner.

The pages of this book are printed single sided with minimal texts that leave large blank areas. There is a theme to the book as exemplified by three recurrent, similar pages scattered throughout the book. One is entitled "el libra de la forma" which is printed at the top right side along with a small empty circle in the middle of the page. Another is entitled "musica mentale" with a small straight line placed in different positions on the page. The final title is "musica visible" which is printed with lines that connect in different directions. -- Source of annotation: Marvin or Ruth Sackner.

This card was published on the second anniversary of Strathclyde region's tax collectors assault on the Finlay's Garden Temple. It includes a diagram that demonstrates the making of a paper arrow and tree with the arrow piercing the tree. -- Source of annotation: Marvin or Ruth Sackner.

The fragmented concrete poems in this book are reminiscent of those by Adriano Spatola. The cover was made by Coco Gordon. -- Source of annotation: Marvin or Ruth Sackner.