The image is formed with red slashes and dashes. -- Source of annotation: Marvin or Ruth Sackner.

The typed image in the bottom center resembles colored flowers in a pot. -- Source of annotation: Marvin or Ruth Sackner.

Typed red sphere composed of slashes, dashes and periods is at the open end of a black box composed of colons, slashes and undeline marks. There are seven typed red lines of poetry on the top of the page.The first word of the title poem in Latin translates to impregnate. The image depicts the sed sphere entering (impregnating) the hollow cube. -- Source of annotation: Marvin or Ruth Sackner.

This work contains the names Maria (?) and Enrique (?) in a constructivistic format. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Guy Brett. He writes in his essay, "The Century of Kinesthesia," that the works in the exhibition represent a language of movement or the physiognomy and poetics of language. Writing about dom sylvester houedard, Brett describes him as a Benedictine monk, poet, artist, and one of the most remarkable intellectuals in Britain. He developed a unique compressed prose style to theorise the discoveries of kinetic art and concrete poetry. The catalogue includes an extensive, illustrated chronology of the kinetic movement from 1910 to 1975 and also an anthology of previously published, selected essays by the artists in the exhibition. The Sackner Archive lent nine typewriter, optical works by Dom Sylvestre Houedard to the exhibition. This copy differs from the other copy held by the Sackner Archive in that "Hayward Gallery" is printed on the spine, the second and final destination of this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes information on the Brighton Festival Exhibition of Concrete Poetry that was directed by Stephen Bann. The founding of Black Mountain College is described by Lewis Shelley. "The Early Days of Concrete Poetry" are described by Eugen Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

Each page consists of fragmented, printed text accompanied by found images with most of them composed as photomontages. This is a reprint in a smaller format of a book first published by Continuum in 1963. -- Source of annotation: Marvin or Ruth Sackner.

Four dimensional squares are centered on this page within four red typed lines. -- Source of annotation: Marvin or Ruth Sackner.

This book was published by Hansjorg Mayer. One of the copies is accompanied by a separate pamphlet that lists the works in the exhibition along with advertisements. The catalogue consists of questionaires answered by the artists along with visual documentation. -- Source of annotation: Marvin or Ruth Sackner.

The only copies of this issue are in futura sammelband. -- Source of annotation: Marvin or Ruth Sackner.

The title of the broadside is The Golden Message. Twelve poems using the Spanish word "oro," which means gold, are printed in futura typeface. The letters o, r and o are printed repetitively in different permutations. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

This poem typed in black was cut from a page of red colored typing. -- Source of annotation: Marvin or Ruth Sackner.

Card No.14 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.