Scope and Contents

The exhibition was curated by Enrico Mascelloni who wrote the introduction to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book describes an exhibition and a symposium that included sound poetry, which was held in Venice in June 1972. The critic, Rossana Apicella, mentions, "Let us hope, si licet, that visual poetry will not meet with rapid success, that it will remain immediate, violent, mad and popular, erudite and authentically experimental; there is a risk, otherwise, that according to the logic of human destiny it will get up to a dangerous pedestal." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by Nicola Micieli; Eugenio Miccini and Lamberto Pignotti contributed essays. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The plexiglas sculpture is from the Pyramidal Ecstasy Exerzises (sic) of Arias-Misson. In a letter to the Sackners, he stated that "they are without doubt the most concentrated and beautiful work I have done... a joyous affair built on the proportions of the Cheops; first I became fascinated by the compelling geometrical forces of the Pyramid, as angles and slopes and proportions created a grammar of relations between the figures I was working with.The theory of numbers, the enormous equation at the heart of the Pyramid, is not irrelevant to this mental energy. The Pyramid, unlike the Western spiritual structures, which soar upward from the ground, appears to have crashed from a void at its summit (the uncompleted golden pyramidal point) to the ground with a geomagnetic intensity. The figures on the walls and inside the pyramids come from the various shamanistic cultures of the world (Polynesian, African, Mayan, Vaudou etc.) which I feel can cluster in this all-encompassing...

Scope and Contents The plexiglas sculpture is from the Pyramidal Ecstasy Exerzises (sic) of Arias-Misson. In a letter to the Sackners, he stated that "they are without doubt the most concentrated and beautiful work I have done... a joyous affair built on the proportions of the Cheops; first I became fascinated by the compelling geometrical forces of the Pyramid, as angles and slopes and proportions created a grammar of relations between the figures I was working with.The theory of numbers, the enormous equation at the heart of the Pyramid, is not irrelevant to this mental energy. The Pyramid, unlike the Western spiritual structures, which soar upward from the ground, appears to have crashed from a void at its summit (the uncompleted golden pyramidal point) to the ground with a geomagnetic intensity. The figures on the walls and inside the pyramids come from the various shamanistic cultures of the world (Polynesian, African, Mayan, Vaudou etc.) which I feel can cluster in this all-encompassing...

Scope and Contents

Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Arias-Misson provides an essay that defines the "public poem." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The introductory essay was written by Rossana Apicella. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The Sackner Archive lent several original pages A Humument (from 1st revised edition) by Tom Phillips to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Cover by Steve Random. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

One soft cover book is staple-bound to the folded cover; the other is uncovered and folded. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Peter Frank. The Sackner Archive lent 12 pages of the "First Revised Edition of A Humument" to the exhibition. The catalogue includes essays by Arias-Misson, Frank, Miccini, and Sarenco as well as a chronology dealing with visual poetry. -- Source of annotation: Marvin or Ruth Sackner.