First published in 1990 and reprinted in 1992. -- Source of annotation: Marvin or Ruth Sackner.

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

The Sackner Archive holds the original publication in German that appeared in Friebord No.87, 1994. In this pamphlet the picture poem appears on the left sided page and Segay's "translation" in Russian on the right sided page. -- Source of annotation: Marvin or Ruth Sackner.

The earliest work in this sampling of Segay's visual poems is dated 1973 and the latest 1997. Most pages of the soft cover book consist of black paper with stylized cut out letters that form a text which is collaged to the white pages. One collage in the book was done as a collaboration among Segay, Nikonova, and Scherstjanoi. The material is enclosed within a handmade portfolio, held together by thick black laces with gold foil at the tips. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

The frottage word id concerto. -- Source of annotation: Marvin or Ruth Sackner.

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

This was a scaled down version of the exhibition, The Book Garden, which toured in England. Included is the assembling, 'Waggon' published by Editions Augenweide, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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

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

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

According to Jerry Janecek, the theme of this issue is expressed in two sections: 1) violation of all poetic forms and 2) use of existing poetic forms with innovation. There are several multimedia poems that include handcoloring, collage, drawing, flaps and other moving components) by the several poets contributing to this issue. A section includes a chronicle of poetry readings by Transfuturists and others. -- Source of annotation: Marvin or Ruth Sackner.

This issue has a preface by Segay and poems by Nikanova (drawing, handcoloring, cutouts), A. Nik, Segay (stencilling, cards in an insert), Konstrictor (tipped-in manuscript on index card), Bakhterev (1930), Gnedov (1972) and Unksova. Konstrictor and Nikanova, contribute theoretical statements. A story is contributed by A. Nik. Nikanova reviews a book by Vladamir Erl. The black ink of the drawings appear to have been mixed with sand. -- Source of annotation: Marvin or Ruth Sackner.

According to Jerry Janecek, this copy is a reissue composed mainly of carbon copy typescript in 1983 from the first issue released in 1979; it has a stencilled cover. The text consists of statements by Nikonova (1979) and Segay (1969) regarding new principles of art and poetry creation, including adding to older texts, e.g., by Khlebnikov, as well as "emancipation of the pause " and other devices of composition with examples. There are four examples of handwritten texts by Segay. There are brief reviews of books by Vladimir Erl and Boris Vantalov (aka Boris Konstrictor). This reissue includes a Table of Contents for issues No.2 (1979) - No.16 (1983). -- Source of annotation: Marvin or Ruth Sackner.