Scope and Contents Cobbing describes the first time he used words in a non-semantic way (1959). Now does no belive that there are any distinction beween music and art and poetry and dance. He indicates that he does not notate his sound poems because "every shape one sees on a page, conjures up a sound - any sound one hears conjures up a pattern, a mark on the page. Ross asks Cobbing about his sound scores [abstract markings] and how he reads these marks. He cites Norman McLaren who drew a sound track on film. McLaren stated that "a thin line will give you a high sound, a thicker line will give you a lower sound. If you make a little tiny point it'll give you a high 'ping,' if you make it a rounder blob, a biggr blob, it'll give you a 'boom'..." Cobbing indicates than when he makes marks on paper, he writes in sound. Cobbing tells about a painting he made that was exhibited in a library entitled "Integration alone is not enough" (1962/1963) in which Margaret Thatcher, then a local representative saw...

Scope and Contents

First published on the occasion of Bob Cobbing's retrospective exhibition held at the Sunderland Arts Centre in 1974 as Ceolfrith No.26. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The text consists of notes for the record of the same title; the record is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Reviews international small press scene. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The pages of this pamphlet reproduce the covers of all the issues in this series. The Sackner Archive holds most if not all of these pamphlets. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a November internet update of the Writers House calendar for October featuring the seminar "Suddenly Everyone Began Reading Aloud" relating to the exhibition at the Van Pelt Library titled "Make Perhaps This Out Sense Of Can You." Photographs are included of the participants at the seminar. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Designated writers forum folder number nine. Poems include "Worm," "Typestract," "Grin," "Are Your Children Safe in the Sea," and "Spontaneous Appealinair." The earliest poem, "Worm" was initially written in 1954 and then revised in 1964. Reprints several poems published in "Eyerun" 1966, also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Designated writers forum folder number nine. Poems include "Worm," "Typestract," "Grin," "Are Your Children Safe in the Sea," and "Spontaneous Appealinair." The earliest poem, "Worm" was initially written in 1954 and then revised in 1964. Reprints several poems published in "Eyerun" 1966, also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The name "Saroyan" is fragmented. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of signatures of attendees at poetry reading. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a reprint of an interview that appeared in Angel Exhaust No.4. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of an introduction into the history of concrete Poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Cobbing writes that the twelve poems in this series "have a unity on the edge of poetry and graphic art; further, typewriter camera letraset drawn letter and duplicator techniques combine to say kwatz!" (a Chinese-Zen meaningless word). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book deals with Chopin's diary notes on the making of his sound poems. He mentions meeting the Sackners on his visit to Miami Beach in 1984. -- Source of annotation: Marvin or Ruth Sackner.