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This card is a photographic reproduction of a page from a notebook of drawings. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of ideograms housed in a rotary file. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of ideograms done on six porcelain eggs with a dark background. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of ideograms done on six porcelain eggs with a light background. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of a facing pages from a notebook of drawings. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of a facing pages from a notebook of drawings. These drawings depict larger ideograms than the other cards with the same title. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of Malik laying out a large scroll upon the top of a wall. This card shows Malik in the foreground. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of Malik laying out a large scroll upon the top of a wall. This card shows Malik in the background. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of ideographic scrolls wrapped around trees in the black forrest. -- Source of annotation: Marvin or Ruth Sackner.

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This card is a photographic reproduction of a grid of six pictures depicting ideographic scrolls wrapped around trees in the black forrest. -- Source of annotation: Marvin or Ruth Sackner.

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The 21 printed pages on translucent paper in this book reproduce Klophaus' handwriting. -- Source of annotation: Marvin or Ruth Sackner.

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A photographic reproduction of this drawing appears in Neue Texte No.4 1970, a publication held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book was published on the occasion of an exhibition of Irma Balnk at the Galleria Spaziotemperaneo di Milano in November 2002. In his essay Gillo Dorfles describes Irma Blank's techniques for the blue paintings. "Indeed the artist uses both hands to fill with signs the vast canvases and the series of polyester sheets, all realized with a wholly manual, or rather 'corporal' technique. In fact, holding a bunch of ball-point pens in each hand, and giving each of these a synchronous rotary movement from the edge towards the centre, in close correspondence with her respiration and heartbeats, she impresses on the surface of the canvas, of polyester sheet, skeins of bright, stratified colours that - as the writing proceeds - thicken until they cover the whole surface of the painting, while maintaining imperceptible openings between one line and another: this is, in a sense, the breathing (the einatmen, or inhalation, and ausatmen, or exhalation) of the colour." -- Source of...

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As a conscientious objector to military service in South Africa, Boshoff served a prison term and wrote this political tract in made-up language for security reasons. This page serves as the key to deciphering the text. It is stored in the enveloper holding the pages for this tract. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents As a conscientious objector to military service in South Africa, Boshoff served a prison term and wrote this political tract in made-up language for security reasons. The single original page of writings is numbered 24. The remainder of the original manuscript (pages 1-23) is held by a South African Bank. The photocopied text of the 23 manuscript pages is unique and done by Boshoff. A single page provides the key to the code writing. The original page is matted and stored in a box with other drawings by Boshoff. From Boshoff "word forms and language shapes," Boshoff writes the following: Although I only began making BANGBOEK in 1978, the idea for the work originated in 1973, when I was 22. In response to a powerful religious call, I angered my parents by aborting my art studies in the final year, and instead became a lay preacher. The South African Defence Force (SADF) made things worse, pulling me in for yet another of the army's compulsory training camps. To my mind the army was...

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The installation piece consisted of two speaker turntables with the recording of two different orchestras playing Rachmaninoff's Symphony No. 2. On the left was the Philadelphia Orchestra 1959 recording and on the right was the 1943 Los Angeles Philharmonic recording. For each movement, the recordings were started at the same time. However the Philadelphia Orchestra finished the symphony in 47:11 minutes and the Los Angeles Philharmonic in 41:04. The photograph documents the speaker turntables. -- Source of annotation: Marvin or Ruth Sackner.

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The installation piece consisted of two speaker turntables with the recording of two different orchestras playing Rachmaninoff's Symphony No. 2. On the left was the Philadelphia Orchestra 1959 recording and on the right was the 1943 Los Angeles Philharmonic recording. For each movement, the recordings were started at the same time. However the Philadelphia Orchestra finished the symphony in 47:11 minutes and the Los Angeles Philharmonic in 41:04. The photograph documents the speaker turntables. -- Source of annotation: Marvin or Ruth Sackner.

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This book contains sound scores with some instructions for the participating poets. Helmes defines "Haibun" as a prose poem above and a line of Haiku below. Pages 49 and 53 were printed letterpress by Phil Gallo. -- Source of annotation: Marvin or Ruth Sackner.

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A gift to the Sackner Archive on the occasion of Yves Leterme's visit. -- Source of annotation: Marvin or Ruth Sackner.