Cobbing concludes in this essay, visual (concrete) poetry can be heard, smelt, has colours, vibrations whereas sound poetry dances, tastes, has shape. -- Source of annotation: Marvin or Ruth Sackner.

The project was coordinated by Nicolas Zurbrugg, and edited and produced by Emanuele Carcano. It includes all the sound poems on CD's that were originally recorded in OU on 45 rpm records plus five additional recordings that were done later in other publications. The two pamphlets are duplicates. The soft cover book includes Chopin's comments about each issue, Chopin's autobiography, and statements from other artists/poets about his sound poems. Tom Phillips' work is the score of the opera "Irma." One of the compact discs includes recordings of his phonetic poems, "Kansas City Numero Collage." The drawing for this poem is held by the Sackner Archive. It is stored on a shelf near Revue Ou. -- Source of annotation: Marvin or Ruth Sackner.

The cover of this issue was designed by David Barton. The latter also contributes an essay about his work and a bibliography. -- Source of annotation: Marvin or Ruth Sackner.

The cover of this issue was designed by Gary Loose. -- Source of annotation: Marvin or Ruth Sackner.

This is a PALPI Supplement that chronicles the first 22 1/2 years history of the Association of Little Presses.Its inaugural meeting was held in Arlington Mill in July 1966. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing discusses theories of Louis Zukofsky involving music in poetry and the use of tape-recorders vs. solely the human voice in performing sound poems. -- Source of annotation: Marvin or Ruth Sackner.

This is a compendium of previously published conventional, sound and concrete poems as well as critical texts which appear to have been put together for a performance. -- Source of annotation: Marvin or Ruth Sackner.

The editor of this book is listed as Robert W. Cobbing, aka Bob Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

Designated folder number four. Works are new versions of "Tan Tandinane," "Wan Do Tree," "Alphabet of Fishes," "M," and "Oslo Solo." This is the second edition of this anthology first published in 1968. Cobbing notes the following: Why publish sound poems in visual form - because the pattern of sound which is the sound poem often makes an interesting pattern on the page...the poem exists in many forms aural and visual...becomes perhaps many different poems. -- Source of annotation: Marvin or Ruth Sackner.