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One poem is printed on each of the pages except for a few pages with brief commentary.The following text is printed on the back cover. "Literature is the only artform whose organon is already symbolic. Concrete poetry has always been devoted to the breakdown of the assumed symbolism, either to reform a new one or to celebrate raw, lingual materiality for its own sake. While one branch seeks a new understanding of what was always there through this breakdown - most evident in 'found poetry' - and this is called the 'collective branch'; the other, the ideomorphic, seeks to forever push the process into fresh and singular dislocation. Here are three poets with the latter propensity: Haiku-focused LeRoy Gorman with his constuctivist tendencies, the more sculptural Daniel f. Bradley, minimalist panache in tow and cheek and the graphically ham-fisted Marshall Hryciuk, who feels positively didactic next to the other two." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This piece was depicted in Kaldron 14, 1981. Dmitri Prigov, one of the most influential poets of the post-Soviet era, died early Monday in a Moscow hospital, the RIA-Novosti news agency reported. He was 66. Prigov had been in intensive care since suffering a heart attack July 7, 2007. He and his close friend Lev Rubenstein were leaders of the so-called conceptualist school, which arose in unofficial Soviet art in the late 1960s. They were the first in Russia to see performance as a form of art. Prigov was a prolific poet and his work has been widely published since the late 1980s. He was perhaps better known in the West for his live performances, which incorporated visual and musical elements. Until he fell ill, Prigov was planning to return to the ideals of his youth and to participate in a performance where he would sit in a wardrobe as it was hauled up the 22 flights of stairs of Moscow State University, reading poems all the way to the top, The Moscow Times reported. -- Source...

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The Letter "O" has been typed as an overlay to create Moire effects. -- Source of annotation: Marvin or Ruth Sackner.

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This print is divided into an upper half that depicts a typewriter poem with a typed frontal view of a face. The lower half depicts the tItle in bold typography and a collage of an eye and dentures. -- Source of annotation: Marvin or Ruth Sackner.

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This work was first published by NRG magazine. -- Source of annotation: Marvin or Ruth Sackner.

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This work was first published by NRG magazine. -- Source of annotation: Marvin or Ruth Sackner.

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In this book, almost each page depicts a typewriter piece that is constructivistic in appearance. -- Source of annotation: Marvin or Ruth Sackner.

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Klaus Basset was born in 1926 and died in 1996. This drawing is reproduced in his book held by the Sackner Archive, "Ein Leben in Zeichen." In this book, it is dated 1977/1983 and shows minor differences from the original. This typing (1/12/77) and the prepatory drawings (30/11/77) and (29/11/77) are framed together. This work was purchased from the Modern Art Gallery in Vienna and mrked the first typewriter piece purchased by the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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This reproduction was provided to the Sackner Archive by Fernando Alcolea who scanned the image from Spanish ESPASA CALPE Universal Enciclopedia. -- Source of annotation: Marvin or Ruth Sackner.

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The French title is "En-haut et en-bas" or "Top and Bottom,"or "High and Low." Each page is a print of Kolar's typogrammes from the 1960's. The pages are cut so that a portion of typing from the following pages become an important part of the composition. Kolar created new configurations with the typewriter that were known as "creations plastiques." The Sackner Archive holds unique typewritten pages that were bound into a unique binding by Pella Erskine Tullock. -- Source of annotation: Marvin or Ruth Sackner.

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The notations to the right of the image were inspired by Julius Nelson's book "Artyping (1939-1940), a book held bythe Sackner Archive. A composite image was produced of the black and red density gradients by merging the original typings in Photoshop. -- Source of annotation: Marvin or Ruth Sackner.

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The notations to the right of the image were inspired by Julius Nelson's book "Artyping (1939-1940), a book held bythe Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.