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In Visualog 2. The Sackner Archive holds two signed and numbered copies of this book, each with a collage. -- Source of annotation: Marvin or Ruth Sackner.

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Roland Sabatier provides an introductory essay. The loose collage in this copy differs in imagery from the other copy of the book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The loose collage in this copy differs in imagery from the other copy of the book held by the Sackner Archive. This copy is a varient in which the metal relief sculpture accompanying the book is separate rather than being bound into the book (& is stored in a flat file drawer). It is signed on the lower right of the board mounting and is numbered 10/14 and dated in the original 1.4.71. It was resigned by Satie "for Ruth and Marvin Sackner Alain Satie '82. According to Arts Libri 154 2010, this work is profusely illustrated. Loosely inserted, as issued, an original collage by Satie of clipped comic book illustrations, hand-torn text, and elaborate original ink drawing, mounted on Arches, and signed and numbered (as part of the edition) in pencil. Edition limited to 30 copies on velin d'Arches, signed and numbered by Satie in the justification, of which this is an unspecified edition de tete: one of a few copies with a unique sculpture a spray-painted metal construction by Satie,...

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Alain Satier later changed his name to Alain Satie. -- Source of annotation: Marvin or Ruth Sackner.

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Alain Satier was the former name of Alain Satie. -- Source of annotation: Marvin or Ruth Sackner.

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Luiggi used the initial 'E.' for his surname in this catalogue. Several works depicted in this catalogue are held by the Sackner Archive. The loose sheet lists the prices for the works. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibited in Visualog 2, San Luis Obispu, California. Exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was a collaboration among the artists, the Institut du Monde Arabe (Paris) and the Galerie Le Chanjour (Nice). -- Source of annotation: Marvin or Ruth Sackner.

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This book was written by Marie-Helene Montbazet. -- Source of annotation: Marvin or Ruth Sackner.

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David Seaman curated this exhibiton and contributed an essay tracing the routes of Lettrisme to the present day. The exhibition was reviewed in the Statesboro Herald. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Ellen Lyons. The cover depicts photographs of Marvin Sackner and daughter Sara by Duane Michals. The Sackner Archive lent photographs by Bernice Abbott, Michael Badura, and Alain Satie to this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The second section of this work, "Traite de Mathematiques" depicts black and white reproductions of 11 of Isou's Lettriste paintings whose content is primarily calligraphic markings and hieroglyphics. -- Source of annotation: Marvin or Ruth Sackner.

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Each stylized playing card depicts a photographic portrait of a lettrist artist with varied lettrist symbols and/or calligraphic styles that are printed directly on the photograph. These are associated with the visual works of the specific artists. Some markings are also directly painted onto the photographs. For some artists, the letters of their names appear as negative spaces on the photographs. Isidore Isou contributed an introduction to this work. -- Source of annotation: Marvin or Ruth Sackner.

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The Lettrist drawings of Woody Roehmer, who is Satie's wife, illustrate the sound poem of Satie. The pages are Japan paper. -- Source of annotation: Marvin or Ruth Sackner.

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The texts written by Isou, Satie and Bermond enlarge on the Lettrist philosophy. The book is illustrated with documentary photographs and original Lettrist works. -- Source of annotation: Marvin or Ruth Sackner.