The text, translated into English, formed the ninth section of an experimental work entitled Zangezi, published in Moscow in 1922. Here, Khlebnikov rings a series of changes on the Russian word for mind (um, pronounced oohm), adding to it conventional as well as invented prefixes. His glossary of the resulting neologisms is also printed on the back cover. This book was printed on the occasion of the 11th International Sound Poetry Festival in Toronto, 1978. -- Source of annotation: Marvin or Ruth Sackner.

This issue consists of several short pieces by several writers and poets about bill bissett featuring personal reminiscences about adventures with him. -- Source of annotation: Marvin or Ruth Sackner.

And designates his own poetry as Hyper Zaum. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Miekal And box. -- Source of annotation: Marvin or Ruth Sackner.

The calligraphic works are dense, difficult to read, overwritings that give abstract images somewhat similar to the early poetic calligraphic poems by Carlfriedrich Claus. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Serge Segay and Rea Nikonova. -- Source of annotation: Marvin or Ruth Sackner.

Auction catalogue. The Sackner Archive holds El Lissitzky's "Of Two Squares" that was offered for sale in this auction. -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

The title is a double entendre, viz., Limerick and America. The poems are limericks written in a phonetic alphabet to evoke a kind of American Zaum. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Francoise Le Gris-Bergmann. It featured essays about segments of Iliazd's work, e.g., 41 degrees (Regis Gayraud), illustrated books (Francois Le Gris-Bergmann), bibliography (Francois Chapon). The book also includes several translations from the Russian to French of his letters and notes. -- Source of annotation: Marvin or Ruth Sackner.

This 2nd edition has several pages that are photocopied colored whereas the pages of the first edition were photocopied in b&w. -- Source of annotation: Marvin or Ruth Sackner.

Segay used Janecek's critical text on Zdanevich's transcription of Zaum in drama as a base for his own calligraphic markings, thus creating a second layer or a Palimpsest. -- Source of annotation: Marvin or Ruth Sackner.

First published 1991 and reprinted in 1992. -- Source of annotation: Marvin or Ruth Sackner.

The following works held by the Sackner Archive, "Ledentu le Phare," "Poesie de Mots Inconnus," "Maximiliana," "Le Courtisan Grotesque," and "L'Eloge d'Ilia Zdanevitch are depicted and described in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

The following works held by the Sackner Archive, "Ledentu le Phare," "Poesie de Mots Inconnus," "Maximiliana," "Le Courtisan Grotesque," and "L'Eloge d'Ilia Zdanevitch are depicted and described in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.