This page depicts three word drawings in the top center and the large painted word APNAL with the P collaged over with torn handwritten papers. Canto V is framed at the bottom center and "the lustful" is written in graphite five times on the right hand side. On XXVII.XII.LXXXIV Phillips writes "Proof reading the T & H Dante with Hansjorg". The remainder of the handwritten text in green ink describes his work on a TV Dante. -- Source of annotation: Marvin or Ruth Sackner.

The left side of the drawing consists of handwritten instructions for "Attitudes & Positions for Almeida Shoot." The right side continues the dialogue of production schedule and work on the film. Phillips mentions that "Hansjorg Mayer picks up Dante proofs for publication." A drawing of an Egyptian amulet with colored pictograms is placed on the bottom center of the page. To the left of this image, Phillips writes the interpretation of the pictograms. -- Source of annotation: Marvin or Ruth Sackner.

Houedard mentions that the original letter was typed with a pink ribbon and also that he admires the work of Edward Wright. Describes the difficulties he has had in publishing his work with Dana Atchley in Canada. -- Source of annotation: Marvin or Ruth Sackner.

This card that is letter is addressed to John Sharkey deals with a request by Hansjorg Mayer for his contributions to his concrete poetry portfolio. -- Source of annotation: Marvin or Ruth Sackner.

This seventeenth page from Dante Diary which is dated 5 June 1980 contains six discs of WHY SPEND and six discs of WHY SAVE? several of which are collaged. The page also contains several ink sketches of the same. In his text, Phillips writes "XXIV/V/LXXX. 43 years old!...Temporarily held up wtih Dante work since Hansjorg [Mayer]has brought along thousands of transparencies, proofs, etc, of a humument and I must work on them...Silkscreens seem to be working out very expensive & I'll probably have to do more lithography." -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

This unpublished manuscript provides instructions for making highly advanced kinetic poems that apparently were never realized. Houedard recommended devices, film or programs without mentioning computers for making them. These projected poems anticipate digital poetry. For storage purposes, the staple was removed and the individual pages stored in a binder with other Houedard manuscripts.. -- Source of annotation: Marvin or Ruth Sackner.

This is a portfolio edition of "typoaktionen" (1967), a book also held by the Sackner Archive. Hansjorg Mayer defines Concrete Poetry as follows: In concrete poetry the typographical shape is used on its own as an aesthetic element. -- Source of annotation: Marvin or Ruth Sackner.