This typing consists of eighteen lines of typed purple o's on a background of red slash lines. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. In a personal communication to Marvin Sackner, Cameron stated that this work was signed "upside down", is an experiment in which parts of the pattern have been dropped out and other parts (specifically the "single lines" which gave the original pattern much of its sense of curvature) remain. Different eyes will likely see different degrees of "wholeness" to the overall pattern in this variant. Original 2013. As far as the "upside down" business is concerned, I'd imagine you will be publishing the piece, if at all, right side up, and don't need to include the signature & date in any published versions -- they're there for you, purely for reasons of provenance. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. In a personal communication to Marvin Sackner, Cameron stated that this work was signed "upside down", is an experiment in which parts of the pattern have been dropped out and other parts (specifically the "single lines" which gave the original pattern much of its sense of curvature) remain. Different eyes will likely see different degrees of "wholeness" to the overall pattern in this variant. Original 2013. As far as the "upside down" business is concerned, I'd imagine you will be publishing the piece, if at all, right side up, and don't need to include the signature & date in any published versions -- they're there for you, purely for reasons of provenance. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter that was originally typed c.1964 and now retyped 2013. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter that was originally typed c.1964 and now retyped 2013. Cameron comments that this is what a Braille version of the optical pattern might look like. If exhibiting it, it might need to be lit from different angles to obtain different effects, and if backlit you can see parts of the pattern, selected by the patterned "weights" of my finger on the typewriter key, dependent to some degree on the rhythms of typing inherent in the pattern itself. It's also something of an homage to John Cage, with whom I briefly corresponded in 1964 or 5. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter that was originally typed c.1964 and now retyped 2013. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter that was originally typed c.1964 and now retyped 2013. -- Source of annotation: Marvin or Ruth Sackner.

This typing is done on special paper with a shinny surface and a watermark. There are five blurred ink dots at the end of typed red lines of dashes. -- Source of annotation: Marvin or Ruth Sackner.

This work was commissioned by Marvin Sackner for the book dealing with "The Art of Typewriting." -- Source of annotation: Marvin or Ruth Sackner.

The typewriter art on both covers was done by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.

Ivan Kubicek contributes an essay titled "Poems For Looking At And Pictures For Reading." -- Source of annotation: Marvin or Ruth Sackner.

The notations to the right of the image were inspired by Julius Nelson's book "Artyping (1939-1940), a book held bythe Sackner Archive. A composite image was produced of the black and red density gradients by merging the original typings in Photoshop. -- Source of annotation: Marvin or Ruth Sackner.

The notations to the right of the image were inspired by Julius Nelson's book "Artyping (1939-1940), a book held bythe Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The image consists of typed 1's in an over-laid rectangular grid. -- Source of annotation: Marvin or Ruth Sackner.

The image consists of typed 1's in an over-laid rectangular grid. -- Source of annotation: Marvin or Ruth Sackner.

The image consists of typed 1's in an over-laid rectangular grid. -- Source of annotation: Marvin or Ruth Sackner.

The artist composed the work on an Olympia Splendid 99. In a personal communication to Marvin Sackner in 2013, Mott stated that his typewritings were influenced by Margaret, his first wife's (died in 1990) weavings plus reading on knots, quipu, etc and not by the reading of Monk's Pond that he was unaware of until the 1980s. He further mentioned that he employed "various degrees of pressure to give variations and life to the work." -- Source of annotation: Marvin or Ruth Sackner.