Scope and Contents The Sackner Archive lent Houedard typewriter poems for reproduction in this book.AMAZON.COM: "Lori Emerson examines how interfaces"”from today's multitouch devices to yesterday's desktops, from typewriters to Emily Dickinson's self-bound fascicle volumes"”mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space. Reading Writing Interfaces begins with digital literature's defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user...

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Mentions support of Sackner Archive in producing "Adrift" a holographic poem composed of seven words that dissolve into space and into each other with viewing. The reading process takes place along the Z axis. The letters that form the words float irregularly along several Z axis except for the word "breathe" which is somewhere integrated into the overall field. This blows life into the other words as its letters move away from their original position to dissolve again in the light field. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of a review of DeCampos book "Anticritico". -- Source of annotation: Marvin or Ruth Sackner.

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Includes reproductions of a Brazilian literary periodical, Revista de Antropofagia (1928-1929). -- Source of annotation: Marvin or Ruth Sackner.

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When properly lit and placed, the colorful letters of the front hologram that reads POESIA combines with the black letters of the second hologram to read RISCO. The holograms were constructed by Moyses Baumstein. -- Source of annotation: Marvin or Ruth Sackner.

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When properly lit and placed, the colorful letters of the front hologram that reads POESIA combines with the black letters of the second hologram to read RISCO. The holograms were constructed by Moyses Baumstein. -- Source of annotation: Marvin or Ruth Sackner.

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

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This is a reproduction of a card dated 1926 by an earlier poet named Augusto de Campos. -- Source of annotation: Marvin or Ruth Sackner.

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The set contains one well-known concrete poem printed on a card of varied colored stock by each contributor. The loose sheet is a manifesto by Gomringer entitled "from line to constellation" which was first printed in Augenblick No.2. It has been translated into English by Mike Weaver. The set was presumably sold at the Brighton poetry festival. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue has six pages altered with drawings by Joel Hubaut - they were not part of this exhibition. He particapated in a sound poetry component of the exhibition through a CD recorded by Dmitry Bulatov for his book, An International anthology of sound poetry. There are essays on holograms by Augusto De Campos, Eduardo Kac, and Richard Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.

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Joel Hubaut, a participant in this exhibition, hand lettered an anti-Bush, anti-Iraq war political discourse on the inside of the front cover where he signed and dedicated the book to the Sackners. He also marked the paragraph in the preface in green ink that described his work.This catalogue is stored in the box with Hubaut material. -- Source of annotation: Marvin or Ruth Sackner.

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