Peignot provides examples of word-images along with comments in an alphabetic listing. He uses alterations of letter spacing and boldness of the Futura typeface, repetition of letters, anagraphic presentation, variations in the arrangement of letters, mirror imaging, and punctuation marks to enhance and visually define the meaning of words. The poems are related to those found in another book published by Peignot in the same year, Toutes les Pommes se Croquent. Both books are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is an inclusive historical survey from 1963-1968 of the concrete/spatialistic poetry composed by the authors. -- Source of annotation: Marvin or Ruth Sackner.

Ruth Sackner delivered this lecture at the opening of Bob Cobbing's Exhibition "Make Perhaps this Out Sense Of Can You." It focused on the relation of Mathew Abess, the curator of the exhibition and the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of examples of Ovcacek's typewriter, letraset, and stencilled letter works done between 1962-1993 along with critical essays in the Czech language. Jiri Valoch contributed an introductory essay. Ovacek's typewriter poetry marks him as one of the foremost contributors to this style of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The number 84 was typed repetitively to achieve the desired visual effect. -- Source of annotation: Marvin or Ruth Sackner.

This publication depicts Beaulieu's letraset collages including Untitled (2010), a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

A single large letter is collaged onto one of the six surfaces of the cube, e.g., L,W, E , F, U, and R but they do not form a word in any adjacent sequence. -- Source of annotation: Marvin or Ruth Sackner.

levy discusses stamp collecting and asks for article about concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The letter deals with a manuscript submitted for publication to david w harris entitled, "The Incense Box" that apparently remained unpublished. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

levy wrutes about contributions of concrete poetry being solicited for a forthcoming issue of Paris Review. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

Bann reports damage to the screen of Furnival's installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.