Scope and Contents

Describes hypertext as an artform. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a copy of a lecture given by Martha Wilson. It includes a listing of the slides she used to illustrate her historical points or reference. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a copy of a lecture given by Martha Wilson. It includes a listing of the slides she used to illustrate her historical points or reference. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a copy of a lecture given by Martha Wilson. It includes a listing of the slides she used to illustrate her historical points or reference. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book presents shaped texts dating from ancient to contemporary times. Ancient poems are reproduced from Aramaic, Chinese, Japanese, Malayan, Burmese, Tibetan, Urdu, Indian, Sanskrit, Ethipian, Moroccan, Persian, Arabic, Turkish, Armenian, Hebrew, Greek, Latin, German, English, and Hungarian cultures. Bowler's introduction examines the dominant themes of the material. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Broodthaers cancelled text of poem with solid black rectangles to emphasize the typographical design of the poem. The images are printed on opaque paper in this ordinary edition. The cover and page layout follow the 1914 revised version of the poem printed after Mallarme's death but the version he preferred. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This translation, authorized by Gallimard (publishers) and Mallarme's heirs as the first in English, was first published in Folder No.4, 1956, Tiber Press. This periodical is also held by the Sackner Archive. According to Aldan, each page of the poem forms an ideogram -- an image of whiteness of sky and ocean, storm waves,crests and troughs, male and female, wing and bird, sail and boat, etc. The four themes, UN COUP DE DES, JAMAIS, N'ABOLIRA, AND LE HASARD are equivalent to four movements of a symphony. They symbolize many phases of life and time, e.g., four divisions of a day, four seasons, four stages of total time, etc. and are an important part of the pattern that unifies the poem. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This publication was the first book commissioned for the bibliophile society, Du Livre et de l'Estampe Moderne. It was the personal copy of the bibliophile, Monsieur Roger Coulon. The prints were created in handwritten and freely drawn pages conceptualizing the idea of the freedom and majesty of Mallarme's poem. The colors used are subdued earth tones of green, orange, grey, gold and lavender suggesting earthly landscapes. The handwritten text of the poem coordinates with the drawings. The cover of the museum board folder and the slipcase are both decorated with applications of cloud-like cicles of white paint on a brown background. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of two soft cover book; one reprints the 1914 edition of Un Coup De Des. The other contains eleven related works and critical texts by various writers (ending with Mallarme's "Observation Relative Au Poeme") including Mitsou Ronat and Tibor Papp, who presented and realized this edition. Some of these contributions are adaptations of Mallarme's poem in more visual and concrete poetic presentations. The cover of the portfolio is embossed with a red, tilted square reminiscent of Malevich or Lissitzky. This copy is from the ordinary edition, size unspecified. Forty-eight lettered and numbered copies were printed on Richard de Bas paper. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This presentation is derived from Broodthaers conception of cancelling the lines of Mallarme's poem with solid black printed rectangles. A photograph of its installation in the Rodeo Gallery, Istanbul is stored in the box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In his introduction, Brian Coffey points out "that there existed many correspondences between Un Coup De Des and Finnegan's Wake." Joyce in fact possessed a copy of the 1914 edition of the poem and it may have influenced his work. This translation follows the layout of the 1914 edition of the poem. The full tirage is not provided but probably numbers about 1000 copies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This German translation of Un Coup De Des is illustrated with geometrical drawings by Erber which are intended to reflect the mathematical, precise construction of the poem. The colophon states that there are 300 numbered, signed copies but this copy must be out of series since it is unnumbered and unsigned. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Contains reproductions of Broodthaers' sketches and drawings as well as a chronology. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The cover design reproduces "Un Coup De Des Jamais N'Abolira Le Hasard (Image)," a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Zboya writes that he used a computer progam to manipulate the text of Mallarme's poem to produce "non-Euclidean kernals of meaning." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Weiss' book, "Visual Voices: The Poem as a Print Object," 1994 consists of poems appropriated from ancient and classic poems that have been rearranged or altered in their presentation as typed artpoe to convey new meanings mainly based mainly on concrete poetic or conceptual text expressions. He provided an explanation for each of 71 poems published in the book as well as 28 unpublished poems in the typed manuscript. He classified his styles of typed artpoe with headings such as zipperpoem, caressed and overloved poem, telegram poem, etc. He altered poems from such stalwarts as Andrew Marvell, William Wordsworth, Robert Browning , Alfred Tennyson, and John Keats among others. VISUAL POETRY BY IRVING WEISS Team Sonnet: 14 Lines by 14 Different Canonical Poets from Visual Voices: The Poem As a Print Object Appease this virtuous enemy of man (MARVELL) The way which thou so well hast learn'd below, (DRYDEN) And dwell, as in my center, as I can, (JONSON) As into air the purer...