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Cobbing discusses the early concrete poems of Ian Hamilton Finlay, John Furnival, Kenelm Cox, Dom Sylvester Houedard, and Tom Edmonds in depth. This essay is unbpubished. -- Source of annotation: Marvin or Ruth Sackner.

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This second volume of the catalogue mainly documents the Congress held in conjunction with the exhibition. It includes a congress summary by Kornelia Roder. There are also essays by Geza Perneczky, Karol Sauerland, Piotr Rypson, Guy Schraenen, Karla Sachse, Joachim Blank, and Balint Szombathy on the political-cultural-artistic implications of Mail Art. The catalogue contains a transcription of a panel discussion on Mail Art. The participants included Ruth Wolf-Rehfeldt, Klaus Groh, Leonard Frank Duch, Joseph H. Huber, Thomas Schulz, Birger Jesch, Hans-Ruedi Fricker, and Uwe Warnke. The catalogue reprints reviews of the exhibition. Four pages of calligraphic concrete poetry, entitled "Mnemonic Scores" by Valeri Scherstjanoi begin this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition, curated by Kornelia Roder, provides an extensive review of Mail Art examples and exhibitions in Eastern Europe. It is well documented with respect to visuals and text. Several practitioners have contributed essays. Among them, Guy Schraenen's "Addressee Unknown" is particularly relevant to the field. He writes, "Although Mail Art was influenced by visual and concrete poetry, a language of pictures internationally understood, it was English that became the language of Mail Art right from the start. This is the reason why you speak of Mail Art rather than of Art Postal, Arte Postale, Arte Correo or Postkunst...Postal items to unknown addressees have created a circle of related minds. Such ties are the grandeur of a worldwide movement of communication. But Mail Art is only a facet of it. Mail Art used to be a fashion, and as a fashion it will again disappear. It has, however enriched the international art scene by numerous works which otherwise would have been...

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In their introductory essay, "A Fair Field Full of Folk," the editors write about Bob Cobbing as follows: "Cobbing, a resourceful and tireless arts and workshop organizer and publisher, established his radical press Writers Forum in 1954, in 1963 putting its output on a more established and consistent footing, producing cheap mimeographed pamphlets of experimental writing and concrete poetry with great persistence. In his own work he was developing the fusion of visual and aural performance elements that make him a consistent force within British poetry. His re-defining of the nature of the 'text' - as shown by work in this anthology - remains extreme and radical today." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book served as a catalogue of poetry readings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Oulipo is an acronym for Ouvoir de Litterature Potentielle. The texts, edited and translated by Motte, "have been chosen to provide a sampler of Oulipian poetic theory, from the polemical language of the early manifestos to the more elaborate formulations of a startling literary aesthetic." Raymond Queneau nourished and directed the evolution of the group. His definition of the work is "potential literature that is the search for new forms and structures that may be used by writers in any way they see fit." Queneau's work, "Cent Mille Millards de poems - One hundred thousand billion poems" is regarded as the seminal Oulipian text and "echoes throughout the essays in this collection and permeates the Oulipian enterprise as a whole."The history of Oulipo, that formed in 1960, is provided in an introductory essay. The end of the book provides a Glossary of linguistic terms. The Glossary includes names of Oulipian and pre-Oulipian poetic structures, as well as figures of classical...

Scope and Contents

In the prologue of this book, the beginning of Oulipo (Ouvroir de litterature potentielle or Workshop for Potential Literature) is described. While Raymond Queneau was creating his work "100,000,,,000,000,0000 Poems, he asked Francois Le Lionnais for advice with problems he was having. Their discussions led to a wider consideration of the role of mathematics in literature and eventually to the creation of Oulipo in 1960. The book is described as a late 20th century kabala and a labyrinth of literary secrets and survey of an original, provocative and productive literary group. This book includes a translation of Queneau's 100,000,000,000,000 Poems, Jacques Roubaud's account of Oulipian history and practice, full documentation of Oulipian writing techniques, a glossary of Oulipian terms, and an analysis of important Oulipian works, such as Perec' Life A User's Manual. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Raymond Queneau's poem "100,000,000,000,000 Poems" is reproduced in the prologue. While Queneau was completing the work, he asked Francois Le Lionais for advice with problems he was having. Their discussions led to a wider consideration of the role of mathematics in literature and, eventually, to the creation of Oulipo." Initially the group attempted to learn the possibilities of incorporating mathematical structures in literary works. Later this was expanded to include all writing that was subjected to severly restrictive methods. Also designated Atlas Arkive No.6.The Sackner Archive also holds the ordinary edition of this book.Jacques Roubaud contributes an introduction "The Oulipo and Combinatorial Art (1991)." The alphabetical compendium begins with Abish and ends with Zoopictural classification and includes Oulipo and two associated groups the Oulipopo and the Oupeinpo."Life a User's Manual" by George Perec is described by the author including two diagrams. -- Source of...

Scope and Contents

In the prologue of this book, the beginning of Oulipo (Ouvroir de litterature potentielle or Workshop for Potential Literature) is described. While Raymond Queneau was creating his work "100,000,,,000,000,0000 Poems, he asked Francois Le Lionnais for advice with problems he was having. Their discussions led to a wider consideration of the role of mathematics in literature and eventually to the creation of Oulipo in 1960. The book is described as a late 20th century kabala and a labyrinth of literary secrets and survey of an original, provocative and productive literary group.This book includes a translation of Queneau's 100,000,000,000,000 Poems, Jacques Roubaud's account of Oulipian history and practice, full documentation of Oulipian writing techniques, a glossary of Oulipian terms, and an analysis of important Oulipian works, such as Perec' Life A User's Manual. -- Source of annotation: Marvin or Ruth Sackner.

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The composition books of Charles Crumb are described as "books with hundreds of pages of inscrutable pen marks, in series of wiggly lines, m's of n's, or just dots. These 'secret writings' may have been decipherable to him, but they remain a mystery to those he left behind." The Sackner Archive holds one of these composition notebooks. -- Source of annotation: Marvin or Ruth Sackner.

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The Sackner Archive holds three unique artist books by Purvis Young, the Miami artist who is the subject of this article. -- Source of annotation: Marvin or Ruth Sackner.

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Includes Fahlstrom's manifesto for concrete poetry (1953). *WEB 1998: Sharon Avery-Fahlstrom Executrix, Estate of Oyvind Fahlstrom commented that the principal contributor to this catalogue was Oyvind Fahlstrom. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue is almost identical to the one published for the Modern Museet exhibition except that the text is written in French. -- Source of annotation: Marvin or Ruth Sackner.

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This record is No.7 of a sound poetry series entitled "Radiotaxi: vibrazioni del sonoro." It was reissued in a CD format in 2003 by Al Dante. -- Source of annotation: Marvin or Ruth Sackner.

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Geof Huth contributes an essay titled "What We Make of Poetry Even When It Is Poetry That We Make." In it he defines visual poetry and fidgetglyphs which he describes as simple doodled visual poems that are neat, careful and controlled instead of imbued with a studied messiness. Twenty-five pages of fidgetglyph poems are included in this issue. -- Source of annotation: Marvin or Ruth Sackner.