This is a photograph of a model for a poem-garden utilizing reinforced concrete slabs with letters imbedded bronze. The sculptural forms are non-representational and there are no garden elements to denote what the words describe in contrast to Ian Hamilto Finlay's landscape picture poems. -- Source of annotation: Marvin or Ruth Sackner.

Houedard provides an explanation of the three poems which were written on the 18, 19 & 20 of July, 1966 for Exit magazine (1966). A copy of these prints is held by the Sackner Archive and is a catalog entry. -- Source of annotation: Marvin or Ruth Sackner.

Two of the snapshots depict Isou and an unidentified man seated at a table with microphone. The third photo is Isou standing in front of his works. -- Source of annotation: Marvin or Ruth Sackner.

Each of the artists describes his/her methods and thought processes involved in the creation of the works. The cohesive elements in the visual poems are the use of color and form. This publication was a gift from the poets on the occasion of their visit to the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

David Moss writes, "The use of watermarks in papers goes back to the thirteenth century in Italy. A watermark is created by attaching a wire design to the screen used for handmade paper. The paper is slightly thinner where the wire sits so that when the completed sheet is held up to the light, the image is visible." The text for this print is a personal prayer to be recited by women when they light the Shabbat candles.The style of lettering is known as the Veiber-Teich font and the image is a typical Eastern European candelabra. -- Source of annotation: Marvin or Ruth Sackner.

Subtitled "An Anthology of Hitchhiking Poems," this may be considered a precursor to the hitchhiking poems and journal of John Curry on his trip across Canada in 1994, held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds "Study for AMERICA (AFTER FRANZ KAFKA), 1985 -86", page 221. In this volume page 171 is illustrated. -- Source of annotation: Marvin or Ruth Sackner.

Laffoley contributes an essay about the meaning of his new work. "The Alchemy of Breathing," a print commissioned by Marvin Sackner for "The Beauty in Breathing" exhibition (American Lung Association in 1992 in Miami Beach) is depicted in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Timetable is a monumental sculpture conceived and installed by Maya Lin outside the Stanford University Museum of Art. In describing the work, Michel Brenson wrote in the catalogue, "the meaning of Lin's paradoxical response to the question about the nature of time in her work should be clear...within her spaces of indeterminacy, indeed helping to define them as indeterminate, are multiple experiences of time. Lin interrelates the times of water and stone, the time of the substance of the earth, the time with which the planet revolves, and human time." -- Source of annotation: Marvin or Ruth Sackner.

This is the second printing (1999). Page 192 is numbered incorrectly as page 125. -- Source of annotation: Marvin or Ruth Sackner.

The hard cover book is titled "In My Home There Is No More Sorrow: Ten Days in Rwanda" by Rick Bass.The soft cover book is McSweeney No.40. -- Source of annotation: Marvin or Ruth Sackner.

Ana María Uribe (1944-2004) was an Argentinian poet whose writing practices and poetry resonate with our historical moment of transition from analog to digital media." Uribe was inspired by a poetics that led to close affinities between the use of the page and the capabilities of digital media: The concrete poets tied onto Mallarme's innovation and revolutionized spatial conventions byturning space into an integral component of the poem with semantic significance. The flat, twodimensional surface of the page, however, is fundamentally redefined on the computer screenonce again, for the poetic space of the screen is radically different from that of the page on numerous levels. Firstly, it is kinetic and interactive: letters can move and migrate, positions ofletters and words are no longer fixed and static, but in flux and transient; they are no longer predetermined but potentially open for creative interventions (Schaffner1" -- Source of annotation: Marvin or Ruth Sackner.

This guide mentions that a 50 minute film shown in the National Gallery about Titian includes an interview with Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

bp Nichol designed the cover. "The Para-Concrete Manifesto" by the North American concretists (da levy) is on the back cover. This manifesto is also present on the verso of a letter from Cavan McCarthy to George Dowden which is also held by the Sackner Archive. Loc-Sheets No.17-24 that document the concrete poetry scene in 1966 is stapled to one copy of this issue. da levy contributed a typed. punctuation poem. -- Source of annotation: Marvin or Ruth Sackner.

The photograph depicts Tom Phillips, apparently engaged in thought in his studio, while seated against a wall onto which is pinned part of his Dante's Inferno Diary. The diary is now held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This essay focuses on the material and visual traces of everyday life, in particular his engagement with photgraphs and postcards as objects of art. Joe Moran, the author, describes Phillips project "20 Sites n Years." He also points out the similarity in the compulsive interest between Phillips and George Perec. Phillips use of postcards as in "The Postcard Century" and in his semial painting "Benches" is noted. -- Source of annotation: Marvin or Ruth Sackner.

The photograph depicts one of Tom Phillips' assistant making a silkscreen print in Phillips' studio for Dante's Inferno. -- Source of annotation: Marvin or Ruth Sackner.

This photograph was taken during the summer Sara Sackner spent in London. Phillips is depicted at work on a large print of "Dante's Inferno." -- Source of annotation: Marvin or Ruth Sackner.