Scope and Contents

This issue is a synopsis of poems by French and English speaking Canadian concrete and visual poets. The English poems are translated into French and vice-versa. Raoul Duguay's interview with Richard Giguere, "Poetry is Yrteop," in English lists several definitions of concrete poetry. Stephen Scobie contributes an essay, "Twenty Years of Concrete Poetry" in French. This issue is heavily focused on typewriter amd calligraphy as the medium of expression. -- Source of annotation: Marvin or Ruth Sackner.

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This book is also designated Coleccion Nueva Escritura, volume 9 & 10. This book concentrates on Spanish poets who composed pattern, shaped, concrete and visual poems. The left sided portion of this book focuses on the historic aspects of pattern poetry illustrated with several examples. The right sided portion deals with examples of contemporary concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This is a profusely illustrated catalogue that deals loosely with the theme of labyrinths. -- Source of annotation: Marvin or Ruth Sackner.

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This is a sumptiously illustrated book replete with notes and essays about the avant garde Spanish poets of the twentieth century. In addition, the dvd documents film and video of some of their performances, -- Source of annotation: Marvin or Ruth Sackner.

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This is the first university press pubication to explore the historical roots, aesthetics, and new directions of contemporary mail art in essays by prominent, international mail art networkers from five continents. Includes numerous photographs of mailed artifacts,performance events, congresses, stampsheets, posters, collages, artists' books, visual poetry, computer art, mail art zines, copy art and rubberstamped images. The Sackner Archive is identified as a major resource for Mail Art. The contibutors listed in this record wrote essays or poems and are listed in the Table of Contents. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition featured concrete poems with fragmented text. It included one visual poem by Toshihiko Schimuzu. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackners lent several Futura prints to this exhibition. The surprises by their absence in this exhibition as noted here were the works by Tom Phillips, the Lettrists and the Italian visual poets (poesia visiva) among others. -- Source of annotation: Marvin or Ruth Sackner.

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The first portion of the book contains selected reprintings from the periodical, "Lotta Poetica," the second portion, reproductions of works by artists and poets who contributed to the magazine. -- Source of annotation: Marvin or Ruth Sackner.

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Luciano Caruso contributed an introductory essay on Artist Books in Italy. The exhibition was divided into editioned books, book-objects, handwritten unique books, books with declarations, books incorporating unusual materials, and books using signs. 176 Italian book artists were represented in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Profusely illustrated with brief comments on each image. -- Source of annotation: Marvin or Ruth Sackner.

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290 artists participated in this exhibition that dealt with letter images. -- Source of annotation: Marvin or Ruth Sackner.

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This book is an attempt at resolving and important tangle, that of the utility of Figurative Poetry in Sanskrit Literature. In the shape of Sabdacitra and Ubhayacitra, connoting verbal juggleries and intellectual riddles this literature amuses vast shades of people, even today. Arthacitra is the real imagist poetry. Even old Sanskrit rhetoricians, Ananda, Abhinava and Panditaraja had a flash of its imagist appeal. Contents: Preface; Abbreviations; Chapters I. Introduction; II. Development of Concepts; III. Sabdacitra; IV. Ubhayacitra; V. Arthacitra; VI. History of Citrakavya; VII. Conclusion; Appendix I: The Imagint Movement in Western Poetry; Bibliography; Appendix II: Illustrations; Index -- Source of annotation: Marvin or Ruth Sackner.

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Pignotti provides an extensive historic review of visual/verbal material including discussions of major art movements as well as fashions and pornography. Contemporary presentations relate primarily to Italian poets and artists. Corrado D'Ottavi's collage 'Lei e artista?' depicted on page 279 of this book is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Jon Hendricks, the editor, contributed an essay "Some Notes on Fluxus - Scores and Instructions" in which he writes that "People often see Fluxus performances as limited to a small group of action pieces, and ignore the rich variety of work that Fluxus embraced at different points in time." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Beaulieu comments: an afterword after words: notes towards a concrete poetic.Despite over a century of poetic innovation since Stephane Mallarme's "Un Coup de Des Jamais n'Abolira le Hasard" (1896) & almost 50 years since the publication of Eugen Gomringer's manifesto "Concrete Poetry" (1956), there is still no accepted critical vocabulary for concrete poetry. Concrete poetry is often contextualized historically & is categorized as a subgenre of radicalized praxis from its predominantly modernist period in the 1950s through to the present. By reiterating this historical precedent -- a stridently modernist activity -- criticism on concrete poetry more often than not reifies the idea that this form is still in its infancy, requiring a citation of poetic precedent in order to justify its existence. Brion Gysin remarked that "writing is fifty years behind painting," an assertionevident in the cultural & critical reception for concrete poetry. Readings based upon...

Scope and Contents This is a copy of Seaman's Ph.D dissertation thesis that was later revised and published in the Series "Studies in fine arts. The avant-garde" by UMI Research Press in 1981, a book that is also held by the Sackner Archive. On pages 150-156, Seaman analyzes Rimbaud's "Voyelles." Seaman devotes Chapter V, pages 179-251, to Mallarme with particular attention to Un Coup de Des. Seaman provides an English translation of Tzara's recipe for making a dadaist poem in Breton's manifestos of Surrealism. Here Is Tzara's recipe:To make a dadaist poemTake a newspaper.Take a pair of scissors.Choose an article as long as you are planning to make your poem.Cut out the article.Then cut out each of the words that make up this article and put them in a bag.Shake it gently.Then take out the scraps one after the other in the order in which they left the bag.Copy conscientiously.The poem will be like you.And here you are a writer, Infinitely original and endowed with a sensibility that is charming though...

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This comprehensive catalogue of the Hanns Sohm Archive was edited by Thomas Kellein and designed by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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Cluver presents definitions of Concrete Poetry and its controversies. Robert Indiana's "LOVE" works and e.e. cummings poem "brIght" are analyzed. -- Source of annotation: Marvin or Ruth Sackner.

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The following works depicted in this book are held by the Sackner Archive: "Les Mots en Liberte Futuriste" by Marinetti, "BIF&ZF+18" by Soffici, "Karawane" by Hugo Ball, "Dada Almanach," "Der Dada," "Program for a Dada-Soiree" by Schwitters, "Ledentu le Phare" by Iliazd with collage cover by Gronowsky, "Die Kunstismen" by Lissitzky, and "Utopia" by Itten. -- Source of annotation: Marvin or Ruth Sackner.

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Reproduces several shaped poems in Baroque German typeface with contemporary comments. -- Source of annotation: Marvin or Ruth Sackner.