The duplicate copy of this record also has the mimeographed pages written by Houedard. The manuscript of the Houedard piece is held by the Sackner Archive and the three copies are stored in three locations . -- Source of annotation: Marvin or Ruth Sackner.

This exhibition documented the history of sound poetry. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by R C Kenedy. Tom Phillips designed the cover of this catalogue of British book arts. Sections are devoted to private presses, fine binding, typography and concrete poetry. Particular mention is paid to John Furnival "who paints builds whole landscapes from semantic elements" and Ian Hamilton Finlay "who creates poetry through providing words with a rigorously controlled and potently significant environment." Page 230 depicts John Christie's Word Clock III (1978) that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The book begins with a timeline of the history of sound poetry tracing the literature, instruments, playing and treatises. It contains a descriptive analysis of the works of the major European sound poets with minimal attention to the works of non-European poets. -- Source of annotation: Marvin or Ruth Sackner.

The book begins with a timeline of the history of sound poetry tracing the literature, instruments, playing and treatises. It contains a descriptive analysis of the works of the major European sound poets with minimal attention to the works of non-Europeans. -- Source of annotation: Marvin or Ruth Sackner.

From his personal collection, Celant mounted an exhibition of record covers as artworks that also featured sound poetry. He includes a definitive discography from 1927-1977 and a listing of record producers. -- Source of annotation: Marvin or Ruth Sackner.