From the back cover: "George Perec (1936-1982) became the most celebrated French author of his generation, his novel 'Life A User's Manual" winning the Prix Medicis in 1978. From the start he was fascinated by the possibility of employing non-fictional languages for altogether more mischievous purposes and this book ccollects together various texts in which he uses the expressionless terminology of sociology, entomology and linguistics to achieve effects they are distinctly designed to avoid. Perec was an illustrious member of the Oulipo, a group of writers which is still very much active, and who explore the possibilities of artifiical systems in literature...Not surprisingly, the present book is "experimental", but it is also strange, preposterous, and wrily intertaining." -- Source of annotation: Marvin or Ruth Sackner.

The artist has typed "instructions are same as on photo of canvas for two performers." -- Source of annotation: Marvin or Ruth Sackner.

Cavellini appears in suits of labels. -- Source of annotation: Marvin or Ruth Sackner.

The cover and formatof this magazine mimis "Time magazine." -- Source of annotation: Marvin or Ruth Sackner.

Although Cobbing is not generally thought of as producing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former expalanation. -- Source of annotation: Marvin or Ruth Sackner.

Although Cobbing is not generally thought of as composing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former explanation. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing provides handwritten instructions for reading and ordering the sequence of each part of the poem, e.g. slow to lively, slow solemn, quick lively etc. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of a book first published in 1976. Morrow states that Individual Chanting is listening to the self while making breath & voice sound. He adds that Breathing is universal language and notes that a person can go through a wide range o emotions from depression to exhilaration by breathing differently. Unlike singing, which can stop, the breath goes on even if the breather doesn't want it to...the emotions carried by the breath are readable by others and perhaps by animals. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of a book first published in 1976. Morrow states that Individual Chanting is listening to the self while making breath & voice sound. He adds that Breathing is universal language and notes that a person can go through a wide range o emotions from depression to exhilaration by breathing differently. Unlike singing, which can stop, the breath goes on even if the breather doesn't want it to...the emotions carried by the breath are readable by others and perhaps by animals. -- Source of annotation: Marvin or Ruth Sackner.

Designated Wallet Number Two. Includes the following pamphlets: 1) Bob Cobbing: Windwound, 2) Jennifer Pike: Slack stack, 3) Herbert Burke: Cinquains, 4) Jeramy Adler:The Little Fruit Gum Memory Book, 5) Jean Trevor: Wind whirled, 6) Stan Trevor: HE, 7) Betty Radin: Journeys, 8) Fernando Setti: News, 9) ee vonna-mitchell: Seam, and 10) Bill Griffiths: Sun-Card. -- Source of annotation: Marvin or Ruth Sackner.