This is a page torn from the Sunday newspaper. -- Source of annotation: Marvin or Ruth Sackner.

This is a page torn from the Sunday newspaper. -- Source of annotation: Marvin or Ruth Sackner.

This is a page torn from the Sunday newspaper. -- Source of annotation: Marvin or Ruth Sackner.

This is a page torn from the Sunday newspaper. -- Source of annotation: Marvin or Ruth Sackner.

This is a translation by Augusto De Campos from English to Portuguese. -- Source of annotation: Marvin or Ruth Sackner.

Cluver brings out the connections of August DeCampos' colored textural, concrete poems to the colored musical compositions of Anton von Webern. -- Source of annotation: Marvin or Ruth Sackner.

Deals with an academic course in which the participating poets taught students; this catalogue prints representative concrete poems and supporting texts. -- Source of annotation: Marvin or Ruth Sackner.

Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.

DeCampos provides a brief discussion of his first meeting with Gomringer in his first communication with Houedard. He thanks Houedard for sending him typogrammes..."very interesting as studies of form though I personally prefer always to use the semantical element." States that both Gomringer and his group began from the same starting point, i.e., Mallarme's the throw of the dice, "the threshold of new poetry." -- Source of annotation: Marvin or Ruth Sackner.

DeCampos responds to a classification system proposed by Houedard by pointing out "visual organization of words, with an overemphasis on relations of proximity and resemblance between them, leads ineluctably to an equivalent overemphasis on sound, implying a dynamical use of paronomasia and alliteration that explains why Brazilian young musicians have been so much interested in many of our seeming eyepoems, and in the making of oral presentations for them." He states he wrote to Hugh Kennerabout Ezra Pound and received a sympathetic response. -- Source of annotation: Marvin or Ruth Sackner.

This page was personally scnned under the direction of Augusto De Campos. -- Source of annotation: Marvin or Ruth Sackner.

The poem folds out to the shape of a cube. Lingua means tongue, via means via, lingagem means language, and viagem means voyage. -- Source of annotation: Marvin or Ruth Sackner.

The poem folds out to the shape of a cube. Lingua means tongue, via means via, lingagem means language, and viagem means voyage. -- Source of annotation: Marvin or Ruth Sackner.

This page was personally scnned under the direction of Augusto De Campos. -- Source of annotation: Marvin or Ruth Sackner.