Scope and Contents Also designated Aplomb Zero No.1. In an introductory essay, Houedard discusses buddhas, tantras, and Zen. These poems were translated from the Nahuati language by Houedard. The manuscript for these translations is also held byu the Sackner Archive.Wikipedia: ahuatl (Nahuatl pronunciation: [ˈnaːwatɬ] ( listen), with stress on the first syllable) is a language of the Nahuan branch of the Uto-Aztecan language family. It is spoken by an estimated 1.5 million Nahua people, most of whom live in Central Mexico. All Nahuan languages are indigenous to Mesoamerica. Nahuatl has been spoken in Central Mexico since at least the 7th century AD. It was the language of the Aztecs, who dominated what is now central Mexico during the Late Postclassic period of Mesoamerican history. During the centuries preceding the Spanish conquest of Mexico, the Aztec Empire had expanded to incorporate most of Mexico, and its influence caused the variety of Nahuatl spoken by the residents of Tenochtitlan...

Scope and Contents

This book deals with aspects of concrete poetry paying debt to Cobbing and other pioneers. Chris Jones' essay provides several definitions of concrete poetry, stating that "it is helpful to think of concrete poetry as being an umbrella term for those processes...who share a concern with text (words, letters, phonemes, signs) as their material." -- Source of annotation: Marvin or Ruth Sackner.

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The number 9 is substituted for all the letters "n" of the words in this text. Curt Cloninger in his Master of Fine Arts in Studio Arts thesis wrote about (Maine College of Arts 2008) "Apophatic Art: Enacting Exhaustive Language / Exhausting Enacted Language." He defined Apophatic Writiing: Apophatic writing in the Christian tradition is a way of talking about God that seeks to properly revere him by not overly delimiting him. "Apophasis' is negation and "kataphasis' is affirmation. Since God is beyond all we can affirm about him, in order to more accurately describe him, we must balance our affirmations with reverent negations. Theologian Bruce Ellis Benson (2002) explains, "One affirms something but denies it, because to affirm it too strongly would be heretical and to deny it completely would also be heretical." -- Source of annotation: Marvin or Ruth Sackner.

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Cinicolo expresses disappointment with the V&A museum show of concrete poetry particularly with reference to the construction of the 3 dimensional pieces. -- Source of annotation: Marvin or Ruth Sackner.

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This book was given to the Sackners by Guy Brett and his friend who are handling the estate of the artist, Li Yuan Chia. Li owned the gallery that published this book (L Y C museum & gallery). The Sackners were told that the book did not sell well and that most of the copies were destroyed. Stefan Themerson wrote the intoductory essay and Houedard the foreward. The cover was designed by Alex Selenitsch. -- Source of annotation: Marvin or Ruth Sackner.

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Notes and manuscript for essay published in the exhibition catalogue "Between Poetry And Painting" (ICA, London, 1965). The published catalogue is also held by the Sackner archive. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue, with an extensive bibliography, was published on the occasion of Houedard's retrospective exhibition held at the Laing Art Gallery, Newcastle Upon Tyne, England. The manuscripts of three essays by Houedard in this book are held by the Sackner Archive, e.g. "Kenelm Cox: Keeping Still in the Book of Change," "The Singing of Feeling," and "Introduction to the Catalogue of Arlington-Une." The book was designed by donato cincolo III. The offset-printed Illustrations were selected from work completed by Houedard from January 23 - February 8, 1971 and reproduced from original typestracts lent by The Lisson Gallery. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue, with an extensive bibliography, was published on the occasion of Houedard's retrospective exhibition held at the Laing Art Gallery, Newcastle Upon Tyne, England. The manuscripts of three essays by Houedard in this book are held by the Sackner Archive, e.g. "Kenelm Cox: Keeping Still in the Book of Change," "The Singing of Feeling," and "Introduction to the Catalogue of Arlington-Une." It is the same as the ordinary edition except for the numbering and signature. The book was designed by donato cincolo III. The offset-printed Illustrations were selected from work completed by Houedard from January 23 - February 8, 1971 and rReproduced from original typestracts lent by The Lisson Gallery. This copy is stored in the Ceolfrith box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue, with an extensive bibliography, was published on the occasion of Houedard's retrospective exhibition held at the Laing Art Gallery, Newcastle Upon Tyne, England. The manuscripts of three essays by Houedard in this book are held by the Sackner Archive, e.g. "Kenelm Cox: Keeping Still in the Book of Change," "The Singing of Feeling," and "Introduction to the Catalogue of Arlington-Une." It is the same as the ordinary edition except for the numbering and signature. The book was designed by donato cincolo III. This copy is stored in the Archive Box of Ceolfrith 15. -- Source of annotation: Marvin or Ruth Sackner.

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Although known as a concrete poet, critic, translator, and artist in the art and poetry worlds, Houedard was also well versed in religious thoughts and traditions. Educated in the Christian monastic and contemplative traditions, Dom Sylvester had a deep knowledge of many forms of belief, which he saw as different expressions of a single wisdom. A pioneer of the wider ecumenism, he had active contacts with Tibetan Buddhism and the work of the great Islamic mystic Muhyddin Ibn' Arabi. In these talks given near the end of his life, Dom Sylvester illuminates the meanings embedded in six of Eckhart's greatest sermons. -- Source of annotation: Marvin or Ruth Sackner.

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This reprint is stored in Ian Hamilton Finlay critical text box. -- Source of annotation: Marvin or Ruth Sackner.

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Cameron writes that this work consists of "1 page letter in red & black type accompaning 20 pp dsh's carbon copy of his notes on Dante." The text of this manuscript is not linear. Houedard draws the idea of dance in the cantos of Purgatorio and Paradiso. -- Source of annotation: Marvin or Ruth Sackner.

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This group exhibition was held at Nottingham Testival, Bristol Arts Centre and Newcastle-upon-Tyne. Tom Phillips contributed "The Singing Mushroom: Poem for John Cage" and a page from "A Humument" both of which are reproduced in color in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This group exhibition was held at Nottingham Testival, Bristol Arts Centre and Newcastle-upon-Tyne. Tom Phillips contributed "The Singing Mushroom: Poem for John Cage" and a page from "A Humument" both of which are reproduced in color in the catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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The introduction by Dom Sylvester Houedard critiques the sound poems by Cobbing reproduced in this issue. -- Source of annotation: Marvin or Ruth Sackner.

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This document presents a superficial view of the exhibition and is more concerned with a global assessment of concrete poetry. This work is stored in the Houedard box.This dcoument consists of a three page forward by Houedard and a two page "backword" by Mishkin. -- Source of annotation: Marvin or Ruth Sackner.