This work was first published by Ganglia Press in mimeographed form as the Singing Hands Series No.3 in 1966 (held by Sackner Archive). The present work was published as a component of bp Nichol's bookwork, "bp" by Coach House press in 1967. Nichol provided instructions on the back cover for burning this booklet. Another copy was published by fingerprinting inkoperated in 1992 (also held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

This work was first published by Ganglia Press in mimeographed form as the Singing Hands Series No.3 in 1966 (held by Sackner Archive). It then was published as a component of bp Nichol's bookwork, "bp" by Coach House press in 1967; this work is also held separately by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scans of two pages from the artist book of the same title.

Girlie poems are works or poems dedicated to 'girls' whose names, at the very least, have fascinated Cobbing. The poems are constructed as permutations, palindromes, and visual scores by overprinting. As noted by Griffiths, the simpler the score, the greater the performance potential because it allows Cobbing wider improvisation. The book reprints a large number of these poems. One copy of this book has an orange color and another a blue color. -- Source of annotation: Marvin or Ruth Sackner.

Richard Truhlar writes "Cobbing uses the writer's tools (typewriter, various duplicating machines, ink, etc.) to explore the word and/or letter as hieroglyph, as phonetic symbol, and as concrete graphic interaction of language image with eye and body rhythms." This volume mainly depicts typewriter poems. -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

Daniel f. Bradley composed the six illustrations of letter pictures in this book using letraset. -- Source of annotation: Marvin or Ruth Sackner.

Designated Studies in Concrete Poetry No.3. Includes sections on definitions, historical statements & manifestos, as well as chronologies of concrete and sound poetry. The book was first compiled in 1971 to coincide with the Stedelijk Museum's exhibition "?Concrete Poetry" but funding could not be obtained for publication. Additions to the book were continued until its publication in 1978. This is the first edition. The chronolgy was written by Dom Sylvester Houedard, Jeremy Adler and Dick Higgins. -- Source of annotation: Marvin or Ruth Sackner.

This is also designated Writers Forum Series Studies in Concrete Poetry Number 3. In addition to examples from international concrete poets, the anthology cites chronologies of visual poetry and sound poetry from 1700 BC to 1978. Includes sections on definitions, historical statements and manifestos, concrete aspects of poetry, sound poetry, semantic poetry, myths of concrete poetry. Examples of poems from about 350 authors are reproduced. This is the third printing of the first edition.This reprinting under guidance by William Cobbing, Bob Cobbing's grandso, has an added introduction -- Source of annotation: Marvin or Ruth Sackner.

Reprinting of favorite poems. -- Source of annotation: Marvin or Ruth Sackner.

This is a critical essay with illustrations of Finlay's work by Douglas Eadie. -- Source of annotation: Marvin or Ruth Sackner.

Reproductions of examples of concrete poetry; one copy printed on white and the other on yellow stock. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember." This is Cobbing's manuscript essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

Ray Gosling wrote the introductory essay. -- Source of annotation: Marvin or Ruth Sackner.