Scope and Contents

This book was inspired by Mayan hieroglphics. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an extremely dense visual piece to express Hirschman's love of the gesture in his last bookwork commissioned by the Sackner Archive. A poem written about an Afro-American friend as text is obscured by overpainting. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a fragment of a telephone book that Sit (1917-1987) has torn in a progression such that the narrowest page occurs at the beginning, the widest pages toward the middle, and the torn pages narrow at the end. It is reminiscent of the torn pages, artist books by Buzz Spector and Scott McCarney but Sit tears the pages more crudely. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poem was written in homage to Meridel Le Seur (1897-) a revolutionary writer who was a friend of Emma Goldman and Eugene O'Neil. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This a sketch and idea book that features more handwritten ideas. A sketch for the sculpture, Air Accordion, that was commissioned for the The Beauty in Breathing 1992 exhibition, appears on page 175. An image of two rubberstamped rabbits recurs on several pages. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each print consists of the same text that decribes the atomic meltdown of Chenobyl. Only one print depicts a easily readable text with the rest shoeing cancellations of blind letterpress words. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The images in this book are reminiscent of drawings by Raymond Pettibone. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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.

Scope and Contents

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.

Scope and Contents

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.

Scope and Contents Gerald Janecek (http://www.thing.net/~grist/l&d/janecek/janecek2.htm) issued a report on Transfuturism. He notes that a small group of Neo-Futurists or, as they call themselves, "transpoety" or "transfuristy," has appeared on the scene in the Soviet Union and has produced a body of individual and collective works that are, while acknowledgedly in the spirit and tradition of the original movement, of sufficient quality, quantity, and originality to merit critical attention. They have been mentioned briefy in "Samizdat Art," by R. and V. Gerlovin (1986:157), and there are some important materials on them in Kuzminsky's Blue Lagoon Anthology 5B (1986:508-65), but the present study will evidently be the first extensive survey of their works. The core of the group consists of Ry Nikonova [Anna Tarshis] and Sergei Sigei [Sigov], who lived in Ejsk on the Asov Sea until 1998, and Boris M. Konstriktor [real surname: Aksel'rod] from Leningrad. Sigei and Nikonova, who are married,...

Scope and Contents

In this issue, Nikonova writes under Anna Tarshis and Boris Konstrictor under Boris Vantalov. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this issue, Nikonova writes under her given name, Anna Tarshis. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Rea Nikonova contibutes text as Anna Tarshis and Boris Konstrictor as Boris Vantalov. The illustrations were done by Vevgeny Arbenyev, Aleksandr Glamaga, Rea Nikonova and Serge Segay. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

According to Jerry Janecek, this copy is a mainly an typescript original with cover stencil by Nikanova and frontpiece original drawing by Boris Konstrictor. The "noneo" text is written by Nikanova, with fragments by Konstrictor.The first manifesto of "Transfutur" is included on collective creativity as well as an essay on "system esthetics" by Nikonova. The issue includes poems by Konstrictor, Evg. Arbinev, Aleksandr Galamaga, A. Nik, Nikanova, and Erland as well as a long poem by Oberiut Bakhterev from 1935. Segay contributed a handwritten poem with flaps collaged to the page. Aigi's poems are reviewed. There are two statements by Konstrictor and an analysis by Segay in their relationship to Fluxus. Note that Tim Klaehn [tim.klaehn@gmail.com] refers to Bakhterev as Igor' Bakhterev while Jerry Janecek refers to him as Oberiut Bakhterev -- Source of annotation: Marvin or Ruth Sackner.