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This book is reviewed by Adrian Shaughnessy in eye Vol.13 no.50, 2003. Its aim was to show that graphic design and fine art blend as one. In the review, Shaugnessy points out that in the 21st century, the disciplines are growing apart due to commercial art galleries that need to distinguish the two to maintain business. -- Source of annotation: Marvin or Ruth Sackner.

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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.

Scope and Contents This is the catalogue for the XV Sao Paulo Bienal. The title was also termed 'Cratylus.' The cover design was taken from a painting by Tom Phillips. In this catalogue, Hiouedard made the following comments: Dom Sylvester Houedard was born on the island of Guernsey. He studied at Jesus College Oxford and in 1949 joined the Benedictine Abbey at Prinknash in Gloucestershire; he was ordained as priest in 1959. He was a pioneer of British concrete poetry and regularly contributed to magazines and exhibitions from the early 1960s until his death. He became literary editor of the Jerusalem Bible in 1961, and founded the Gloucestershire Ode Construction Company in 1967. One copy is stored as a reference text, the other alphabetically on the shelf. "During 1945 I realised the typewriter's control of verticals and horizontals, balancing its mechanism for release from its own imposed grid, (and) offered possibilities that suggested (I was in India at the time) the grading of Islamic...

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GLOUP (GLOUcestershire grouP) signifies name given by Jonathan Williams to group of concrete poets living in the west of England, mainly in Gloustershire, including Dom Sylvester Houedard, John Furnival and Kenhelm Cox. WOUP (Westminster grOUP) is name given by Bob Cobbing and Peter Mayer to group of concrete poets living in London, mainly in the city of Westminster, including Cobbing, Mayer and Tom Edmonds. This anthology presents five works by each the poets. One copy has a yellow papercard cover, the other an orange one with a tear. Tom Edmonds who died at age 27 years was a member of the group; the Sackner Archive holds three of his typewriter drawings. -- Source of annotation: Marvin or Ruth Sackner.

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Abraham Moles contributed the preface.The numbering system must have started at a number other than '1.' since only 3026 copies were printed.refThe section titled "La Poesie apres le Verbe" by M. and A. Chaleil, is an in depth critical evaluation of the contemporary international concrete poetry movement which has excellent illustrative examples. Gilbert Rochu provides a critical review of comic strip art. -- Source of annotation: Marvin or Ruth Sackner.

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First printing. Bory's introduction traces the history of the concrete poetry movement and its aesthetic. -- Source of annotation: Marvin or Ruth Sackner.

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Second printing. Bory's introduction traces the history of the concrete poetry movement and its aesthetic. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The Sackner Archive lent Houedard typewriter poems for reproduction in this book.AMAZON.COM: "Lori Emerson examines how interfaces"”from today's multitouch devices to yesterday's desktops, from typewriters to Emily Dickinson's self-bound fascicle volumes"”mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space. Reading Writing Interfaces begins with digital literature's defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user...