A

From the camera obscura in the sixteenth century

t o the holograms, lasers and computers of today,
new inventions have been welcomed by artists.
But long before the glamorous m i d - t w e n t i e t h -
century tools came i n t o the artists' hands a
commonplace of the technological age - the t y p e-
w r i t e r - had been taken up as an artistic instrument. h&VkkkhkXkkhUkkl
The earliest surviving example of t y p e w r i t e r art
was made in 1 8 9 8 - a quarte r of a century after the
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a drawing of a b u t t e r f l y .
A t t h a t stage most t y p e w r i t e r art w o r k s wer e
a a a a a a at a t
produced by amateurs, but in the 1920s the
t y p e w r i t e r was taken up by serious artists. The l ff* W* 9* **• * *
painter Josef Albers used it t o teach aspects of the
t h e o r y of f o r m at the Bauhaus in Germany, and the W* w * \w*
Dutch painter-typographer H. N. W e r k m a n was
e x p e r i m e n t i n g at G r o n i n g e n . W e r k m a n ' s
' t y p e p r i n t s ' e x p l o r e the abstract visual rhythms
of the keyboard's signs and letters in a s t r i k i n g way.
Further experiments followed in the 1940s, and
w i t h the g r o w t h of the international concrete if;A:i
p o e t r y movement in the late 1950s and early 1960s
a new stimulus was given t o t y p e w r i t e r art and a
new element added t o i t : verbal meaning. Poems
combining t h e visual and the verbal w e r e composed
on the t y p e w r i t e r in increasing numbers and many
are included here.
A p a r t f r o m concrete poetry, o t h e r recent art * * *

movements have been reproduced on the type-

w r i t e r , including constructivist and systems art and
op and gestural abstraction (the German T i m m
Ulrichs was t y p i n g optical effects in the early 1960s
at the same t i m e as Bridget Riley was painting
hers in England).
Interestingly, many of the most s t r i k i n g examples
of t y p e w r i t e r art are among the most recent -
notably those of Steve McCaffery in Canada and
D o m Sylvester Houedard and T o m Edmonds (who
died tragically young in 1972) in England. This book
includes I 18 images by 65 practitioners f r o m 18
countries, among t h e m France, Germany, Italy,
Czechoslovakia, Holland, Sweden, Japan and the
U n i t e d States. The first of its k i n d , it is an unusual :
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Drawing of a butterfly made in England by Flora F. F. Stacey in 1898. It is the earliest dated example of a typewriter art work
Typewriter Art
1
By the same author
The Stopped Landscape (poems)
Eclipse (concrete poems)

Copyright © 1975 London Magazine Editions

Published by London Magazine Editions

30 Thurloe Place, London SW7

A l l rights reserved. The rights for each w o r k remain the

property of the individual author except in cases where
they are the property of a previous publisher

Designed by Ron Costley and printed in England by Shenval

ISBN 900626 99 2

End-papers: Chromatic permutations by Luigi Ferro (1967)

:

for Ann
Contents

List of plates page 8

Introduction page 10

Pioneers page 17

Contemporaries page 31

Some relevant books page 149

Biographical notes page 149

Acknowledgements page 154

Index by author page 156

Index by country page 157

To fit the format of the book, some works have had t o be

slightly enlarged or reduced
List of plates

Butterfly. Flora F. F. Stacey frontispiece

Figure I: Typewriter poem. Claus Bremer page 13
Figure 2: Typewriter poem. Emmett Williams 13
Figure 3: Typewriter poem. Reinhard Dohl 13
Typeprint. H. N. Werkman 19
Typeprint. H. N. Werkman 20
Typeprint. H. N. Werkman 21
Typeprint. H. N. Werkman 22
Typeprint. H. N. Werkman 23
Typeprint. H. N. Werkman 24
Typeprint. H. N. Werkman 25
Typeprint. H. N. Werkman 26
Construction exercise. Bauhaus student 27
Construction exercise. Bauhaus student 28
Construction exercise. Bauhaus student 29
Composition. Pietro de Saga 30
Leaflikebird. Jeremy Adler 33
Light. Pierre Garnier and Seiichi Niikuni 34
Fountain. Jin Kolar 35
Texture poem for the moons of stars. Peter Finch 36
Moon song. Tristan Gray Hulse 37
Cityscape. Simon Parritt 38
Cityscape. Donato Cinicolo 39
Likecityscape. Jeremy Adler 40 and 41
Tinguely. Jiff Kolar 42
Brancusi. Jin Kolar 43
W o r m . Bob Cobbing 44
Bird. Henri Chopin 45
Defeat of the Teutonic Knights at Tannenberg. Use and Pierre Garnier
Arise the dead. Paul deVree 47
Infantryman. Claus Bremer 48
Dove. Claus Bremer 49
Snake. MiroljubTodorovic 50
luv. Hans Clavin 51
The honey pot. Alan Riddell 52
Vines. Use and Pierre Garnier 53
Untitled. Paul de Vree 54
Life is a lottery. Paul deVree 55
Section through a tree-trunk. J. P. W a r d 56 and 57
Vegetal sign. Use and Pierre Garnier 58
Sea shanty. Paula Claire 59
Moon loom. Tristan Gray Hulse 60
Susan. Robert Caldwell 61
Grid 4. Simon Parritt 62
Train types. Andrew Belsey 63
Typewriter. Gary Blake 64
Police dog Tosca. W i l l Hollis 65
Arab. W i l l Hollis 66
Portrait of the artist's wife. Zoran Popovic 67
Gandhi. Iqbal Fareed 68
Copy of Dennis W . A. Collins' portrait of Churchill 69
Duke of Edinburgh. Dennis W . A. Collins 70
Queen Elizabeth. Dennis W . A. Collins 71
Henri Chopin. Robert Morgan 72
To Mrs M. Luther King. Paul deVree 73
Announcement. Klaus Peter Dencker 74
Space. A r r i g o Lora-Totino 75
Illustration from teleprinter novel Informed Sources. W i l l a r d S. Bain 76
Page from typewriter novel Double or Nothing. Raymond Federman 77
Graphic poem. Henri Chopin 78
In defence of poetry. Michael Gibbs 79
oeo. Ernst Jandl 80
Condensation. Timm Ulrichs 81
Typestract. Dom Sylvester Houedard 82
Italic ode. Dom Sylvester Houedard 83
Sardinian lovesong. Dom Sylvester Houedard 84
Typestract. Dom Sylvester Houedard 85
Typestract. Dom Sylvester Houedard 86
Estrangement. Vaclav Havel 87
i.JirfValoch 88
A festive marching song in the shape of 10 dixie cups. Emmett Williams
Guerilla. Yuksel Pazarkaya 90
Black. Maurizio Nannucci 91
W h i t e . Maurizio Nannucci 92
Yellow. Maurizio Nannucci 93
i.

Typestract. Dom Sylvester Houedard 94

Homage to Vasarely. Alan Riddell 95
Untitled. W . Bliem Kern 96
Untitled. W . Bliem Kern 97
Albers.Jiri Kolar 98
Facet of the 'Yin Yang' cube. Peter Mayer 99
Typestract. Dom Sylvester Houedard 100
Buddhist mantra. Robin Greer 101
Six meditations. Toshihiko Shimizu 102
Visual text. Stefan Themerson 103
Towards me w r i t i n g a book. Tom Edmonds 104 t o 107
T w o contiguous panels from 'Carnival'. Steve McCaffery 108 and 109
Chromatic permutations. Luigi Ferro 120
Aubade. Alan Riddell I I I
Two flags. Alan Riddell 112
Anatomy of a tomato. Patrick Bridgwater I 13
4444. Josef Hirsal 114
Untitled. JiriValoch 115
Untitled. Jin Kolar 116
Untitled. Jin Kolar 117
Mullions. Richard Kostelanetz 118
Typotexture.Timm Ulrichs 119
Poem for Rosemarie. Charles Cameron 120
Untitled. Use and Pierre Garnier 121
Untitled. Amelia Etlinger 122
Untitled. Amelia Etlinger 123
Sonic water. Dom Sylvester Houedard 124
Labyrinth. Tim McDonough 125
Chromatic permutations. Luigi Ferro 126
Chromatic permutations. Luigi Ferro S27
Chromatic permutations. Luigi Ferro 128
Nine meditations on atheme of Jin Kolar. Zdenek Barborka 129 t o S37
Letter typogram. Josef Honys 138
5th dolphin transmission. Andrew Lloyd 139
Untitled. Mats G. Bengtsson 140
Untitled. Mats G. Bengtsson 141
Untitled. Bengt Emil Johnson 142
Homage t o John Cage. Bengt Emil Johnson 143
W a t e r land. ShohachiroTakahashi 144
Prospectus for magazine Material. Emmett Williams 145
Sunday. Helmut Zenker 146
Whisper piece. Bob Cobbing !47
Beethoven today. Bob Cobbing 148
 T h e image in t h e m a c h i n e

An American, Christopher Latham Sholes, is widely held t o be the inventor of the

first practical typewriter. His machine, perfected in the early 1870s, was bought by E.
Remington & Sons, gunsmiths, of llion, New York, and put on the market in 1874.
Mark Twain w r o t e t o his brother in 1878 of this 'new-fangled writing machine': I t
will print faster than I can w r i t e . One may lean back in his chair and w o r k it. It piles an
awful stack of words on one page. It don't muss things or scatter ink blots around. Of
course it saves paper.'
In the century since then, the typewriter has become so much a part of life that it is
hard t o imagine our present society withou t it. More than taking the drudgery from
writing, it has transformed business and created the largest female workforce in history,
the monstrous regiment of typists.
The typewriter's role as an artistic instrument is less familiar. In choosing these 119
works by 65 practitioners from 18 countries, I have tried above all t o pay tribute t o the
machine itself, and its particular qualities. Thus the images are not arranged by author,
by country or chronologically, but mainly in juxtapositions t o show the range of effects
possible with the typewriter. For example, Simon Parritt's 'Grid 4 ' and Andrew
Belsey's T r a i n types', on facing pages 62 and 63, both use the same building block - t w o
horizontal and t w o oblique strokes: / / - but to quite different purpose. And the
nine heads grouped together on pages 66 t o 74 illustrate the varied possibilities in
figuration, from the almost photographic realism of W i l l Hollis's Arab t o the stylised
study of the artist's wife by the Jugoslav Zoran Popovic.
Where the appearance of an image has not determined the choice of the next, the
theme may be the link, as with Helmut Zenker's 'Sunday' and Bob Cobbing's 'Whisper
Piece'on pages 146 and 147.
In general, figurative works predominate in the earlier part of the book and abstract
and geometric ones towards the end. I have departed from this arrangement, however,
in the opening pages, which are devoted t o three pioneers of the 1920s - Hendrik
Nicolaas Werkman, Pietro de Saga and an unidentified Bauhaus student of Josef Albers'
- whose works give an historical context t o the profusion of present-day experiment.
Although these three showed how the typewriter could be used t o produce imagina-
tive art, people had been experimenting on the machine since it came on the market.
In Britain, the typewriter in its early days seems t o have been regarded w i th the same
blend of idealism and hard-sell that attached t o the computer in the 1960s. Propagandists
claimed that it would benefit not only business but also education (by improving
spelling and punctuation) and the emancipation of women (J. M. Barrie wrote a play,
'The Twelve-Pound Look', in 1910 about the independence being able to type gave t o
women).
In the 1890s, typewriter manufacturers and secretarial agencies organised public
speed-typing competitions, and also competitions for typewrite r drawings. The latter
seem t o have been popular w i t h typists - or type writers, as they were then called -
though our frontispiece, composed by Miss Flora F. F. Stacey in 1898, is one of the few

10
 examples t o have survived. Pitman's Phonetic Journal, which printed it, commented:
' W e think it will be generally admitted that the illustration is in the highest degree
creditable t o the artistic ability, skill and patience of the lady, and t o the unique capa-
bilities of the Bar-Lock for this class of w o r k . It may be noted that in competitions for
typewriter drawings Miss Stacey has been extremely successful. . . . An outsider, or
one unaccustomed t o the use of the typewriter, can scarcely realise what an expenditure
of time and patience is necessary in order t o successfully execute one of these curious
drawings. The paper has, of course, t o be turned and re-turned, and twisted in a
thousand different directions, and each character and letter must strike precisely in the
right spot. Often, just as some particular sketch is on the point of completion, a trifling
miscalculation, or the accidental depression of the wrong key, will totally ruin it, and
the whole thing has t o be done over again.'
It would be hard t o better this description of one approach t o typewriter composi-
tion. However, if the decorative border of Miss Stacey's w o r k is discounted, one sees
its basic weakness. W i t h the exception of the letter o, the keyboard's alphabetical
characters are not used: the drawing is composed of brackets, hyphens, points, oblique
strokes and a single asterisk. They make up a sketch of a butterfly which could just as
well, and far more easily, have been done w i t h pen and ink, and one which denies rather
than affirms the instrument w i t h which it was made.
H. N. Werkman's 'typeprints', by contrast, illustrate how a gifted artist sets out
t o exploit a medium. W e r k m a n , who was born in 1882 in Leens in the Dutch province
of Groningen, began his working life as a journalist. He later moved into printing, first
as manager of a comparatively big firm and then, after the economic collapse following
the First W o r l d W a r , as a small jobbing printer. He had already begun t o paint in oils
during the war but now found a new way t o express his creativity. The jobbing printer
must personally master the related skills of typography and layout, typesetting, com-
posing (the insertion of the type into the iron chases in which it will be printed), and
the printing itself. These came easily t o Werkman , and he went on t o become a
typographer of originality and a maker of intuitively structured prints using the stock-
in-trade of the printing shop - large display types, rules, inking rollers, even the
rectangular mounts of the letters themselves. His w o r k in both these areas has been
increasingly recognised. Werkman's typewriter experiments also date from this time
- 1923 t o 1929 - but it is only now, fifty years later, that these are coming t o be fully
appreciated (pages 19 to 26).
Werkman uses the rectilinear grid of the typewriter as a framework against which
t o explore the abstract visual rhythms of the keyboard's signs and letters. Two of his
techniques are w o r t h pointing out. For any given typeprint he generally allows himself
t w o insertions of the paper, one at right angles t o the other; and he disengages the
typewriter's line-spacing mechanism and moves the paper up or down as required t o
get unstraight lines. By the first of these devices he produces elaborate patterns of
crosshatching, and by the second a delicate interplay between the straight and wavering
lines. One is reminded of electrical circuit diagrams and the contour lines on maps.
A t the same time as Werkman was experimenting in northern Holland, Josef Albers
 in Germany was using the typewriter as an artistic tool in his preliminary course at the
Bauhaus in Dessau. The works reproduced here were done under his tutelage and were
exhibited at the big Bauhaus show at the Royal Academy in London in 1968. Unfor-
tunately, neither Professor Albers nor the Wiirttembergischer Kunstverein, which
organised the show, have been able t o trace them since then and so only enlarged
half-tone illustrations taken from the exhibition catalogue are now available. This
accounts for the furriness of the straight lines and the breaking up of the letters and
other signs. However, the originality of these 'construction exercises', as Albers called
them, is immediately apparent, notably in the stylish way in which a three-dimensional
image is created. In t w o cases this comes from the use of horizontal and oblique strokes
(on page 29 the closely-packed diagonal lines also give added weight of tone and the
effect of shading t o the geometrical form). In the other instance (page 28), three-
dimensionality is created by one plane cutting through another. (Horizontal and oblique
strokes also form the basic technique by which Dom Sylvester Houedard produces his
three-dimensional effects.)
Little is known about the third member of this pioneering t r i o , Pietro de Saga,
beyond the fact that this was the pseudonym of Stefi Kiesler, wife of the Austrian
architect Friedrich Kiesler, who in the 1920s published typewriter w o r k in the Bauhaus
magazine when it was edited by Walter Gropius. She later emigrated to the United
States, where she is believed t o have died.
The 1930s were a dead decade for typewriter art, but by the end of the Second
W o r l d W a r the Pole Stefan Themerson, who had settled in London, was publishing his
'semantic divertissements', which w i t t i l y combined typewriting used in a visual way
with illustrations by his wife Franciszka, the painter. But these were mixed-media
experiments; his contribution here, done in 1946, is purely a typewriter w o r k and forms
the bridge between the pioneers of the 1920s and the present generation of practitioners.
Although Themerson uses a text (page 103), and so looks forward t o later typewriter
experiments by the concrete poets, it is easy t o imagine his approach finding favour in
both Groningen and Dessau.
The international concrete poetry movement of the 1950s and 1960s gave a new
impetus t o typewriter experiment, and also added a new element t o i t : semantic
content. Poems combining the verbal w i t h the visual were composed on the typewriter
in increasing numbers. Some of these concrete poems could be realised in print or -
later, when it was invented - with transfer lettering such as Letraset. But others,
because of the difference between typesetting and typing, are difficult, or impossible,
t o realise in print. For instance, t o superimpose one line on another in printing requires
t w o separate lines of type t o be set, t w o separate formes t o be composed, and finally
t w o separate printings - a costly operation. W i t h the typewriter one simply pushes the
carriage back to the beginning of the line, or uses the back-spacer, and starts typing
again (figure I).
Another distinction between printing and typewriting is that the print letters vary
in w i d t h , an m or a w being much wider than an I, whereas the typewriter's characters
are all the same w i d t h . This means that a typed text in which successive lines are
Figure I Claus Bremer's concrete poem exploits the lesbareg in unlesbares ubersetzen
typewriter's ability t o superimpose one letter on another, l e s b a r e s in iiiiiesfetaeB
but has little visual interest (Translating readable into
unreadable')
uiiitsMzrim

reduced in length by one letter will have a straight diagonal outline, as in the Stefan
Themerson w o r k . In print, the diagonal outline would come out irregular and the crisp
geometry of the design would be lost. Several concrete poets have suffered from
misguided attempts t o translate their typewriter works into normal print (though a
few printers do have a special 'typewriter' typeface with the letters all the same width).
Paradoxically, this distinction of the letter widths no longer exists w i t h some
advanced typewriters which were developed as an alternative t o typesetting when
printing labour costs rose in the 1960s. These 'near print' machines have keyboards
which give the same spacing and appearance as conventional type. Books produced by
this method are characterised by ragged margins on the right. Many typewriter concrete
poems cannot be typed on 'near p r i n t' typewriters.

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Figure 3 Another example, by Reinhard Dohl, of a

borderline case of t y p e w r i t e r art ('Up down up and
Figure 2 Emmett Williams' t y p e w r i t e r concrete poem is staying halfway up'). For a t y p e w r i t e r concrete poem
more eye-catching than the Claus Bremer one at the t o p which is also clearly t y p e w r i t e r art, see Timm Ulrichs'
of the page. However, although it projects a verba! 'Condensation' on page 81. Constructed on the same
statement in a visual dimension, it remains only a border- principles as these three concrete poems, it is visually
line case of t y p e w r i t e r art much more interesting

13
 Not all typewriter concrete poems can be called typewriter art. Only those which
explore the instrument's visual possibilities interestingly are considered so here, and
many otherwise excellent poems have had t o be left out of the body of this book.
Figure I is an example of typewriter poetry which is not typewriter art. Figures 2 and 3
are borderline cases in which the visual element is stronger than in figure I, though
not yet as strong as in Timm Ulrichs' similarly structured but more visually dynamic
'Condensation' (page 81). Some works coexist elegantly in both genres: for example,
Paula Claire's 'Sea shanty' (page 59) and Jiri Kolar's 'Fountain' (page 35) are as good
concrete poems as they are typewriter art.
In other works of typewrite r art, the letters used bear no intelligible relationship t o
the image, as in Jeremy Adler's 'Leaflikebird' (page 33), a graceful abstraction of move-
ment in which subtle differences of tone and texture are produced by typing rows of
a's on a sheet of paper rotated by small degrees through 130 degrees.
Understandably enough, pattern-making is popular (Ferro, Nannucci, Etlinger), and
the typewriter has had its op artists (Ulrichs, Valoch, Kostelanetz). In fact, looking over
these works one sees that many recent art movements have been reproduced on the
typewriter. Constructivist and systems art, op and gestural abstraction have all been
typed, and sometimes not only under the influence of other media - Ulrichs' op effects
(page 119) were being produced in the very early 1960s at the same time as Bridget
Riley's.
There might appear t o be a similarity between typewriter works and computer
graphics, but they are not really alike. The typewriter artist makes one mark on the
paper by depressing a chosen key once, and a succession of such choices - often an
infinitely laborious process - is required t o finish the design. The computer artist feeds
his mathematical programme into the computer, which transforms it in a matter of
minutes into mind-bending curves and forms. His skill comes in the programming, and
in the selecting of the images produced - computers can make elaborate and appealing
designs when programmed in error or when set t o operate at random.
A medium closer t o the typewriter is the teleprinter, and I have included one
example: an illustration from Willard S. Bain's teleprinter novel, Informed Sources.
One traditional craft has a similarity t o typewriter w o r k : embroidery on canvas.
This has a rectilinear grid on which the design is built up one stitch at a time. And
where the embroiderer uses different coloured thread t o produce light and shade and
shape, the typewriter artist as a rule does so by choosing letters of varying densities.
Coloured typewriter ribbons and coloured carbon paper can, of course, be used,
though many practitioners prefer ordinary black ribbon - and black and white is more
readily accepted for publication. Nevertheless, when colour is used well it can add
greatly t o the expressiveness of a typewriter w o r k , as in Tom Edmonds' 'Towards me
w r i t i n g a book' (page 104), completed not long before he died in 1971 at the early age
of twenty-seven. This was typed with red and black ribbon and blue and black carbon
paper. Luigi Ferro offers another ingenious colour effect by typing with red and black
ribbon on t o transparent paper and then inserting an orange-coloured paper behind
this. The result is a three-colour composition achieved by the simplest means. Typewriter
 images can also be reproduced in colour by silk-screen printing or by the traditional
colour-printing methods used in book-production: as in 'Aubade' on page I I I . These
give almost unlimited colour possibilities.
So far as I can see, the late W i l l Hollis achieved most of his colour effects by tinting
black and white works, as photographers did before the introduction of colour film.
But his skill in separating a photographic image into its constituent tonal values,
matching these t o the weight of different typewriter characters and then reconstituting
the image on the typewriter is truly remarkable (pages 65 and 66).
His method must have been very much the same as that used by Dennis Collins in
making his portraits of the Queen, the Duke of Edinburgh and Churchill, and described
in a letter to me:
'What started me on these was when I was wit h an advertising agency. My employer
always had a prime-position page ad. on the inside front cover of Advertisers Annual
and one year I had the idea of taking a small thumbnail photo of him, from which I had
a coarse half-tone block made, and then having a proof of this blown up t o the full-page
size. A t first glance this was rather a puzzle wit h the very large half-tone dots, but was
clearly his face when held at arm's length. This set me thinking of the tone values of
typewriter characters, and I made a graduated scale of tones, from the lightest (a full
stop) to the darkest (s over w). I then used this scale t o translate the tones of a photo-
graph.
'The Queen's portrait and the Churchill one were done on an old portable on which
spaces could not be finely adjusted - this accounts for the horizontal white strips across
the faces. . . . The Duke of Edinburgh one was done when I lashed out and bought an
Olivetti.'
Some other techniques may be w o r t h pointing o u t : using masking paper or 'whiting
o u t ' with paint t o produce an outline; overprinting images through duplicating stencils;
using carbons t o get blurred or smudged effects.
There are, of course, limitations t o the typewriter as an artistic medium. An obvious
one is the narrowness of the paper the machine can accommodate. But this can be
overcome by planning a large design in panels and typing these separately. Steve
McCaffery has produced by this method a 34-by-44-inch composition in black and red
using sixteen separate sheets (two contiguous panels are reproduced on pages 108 and
109).
In fact, much of the pleasure of typewriter art lies in the way in which individual
practitioners have overcome the technical problems.
But more than this: by welcoming a technological commonplace like the typewriter,
the contributors t o this book show how technology and art can continue t o reinforce
each other. Indeed, many of the most exciting works here are among the most recent
- notably those composed in the 1970s by Tom Edmonds, Steve McCaffery and Dom
Sylvester Houedard.

Alan Riddell

rs
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Queen Elizabeth Dennis W . A. Collins (1953) 71

 u a x o S 3, U X o
a u d e m
.. u d i p o e lii s
%,&. vJL JL
o e m S ct
i o. p o e m s
m s a
e re
a u
UL CJL JL
o p
u p °
1 o o e
° P°e m
»A~ \**r
p o e m s
o e m s a,
*•*» *'*.,t .z
P°

p o e m s a 11
ems i o
rasa £ m s a LA, VA ~JL

she* ms a u 1 O D O

s a u o e
m d . L4. %JIL JL ° P ° e m
u d i o ni s
d i o o e m s a
ill o
i o a u
i s a o T> o e m s a u d
%rM* KrJL,
p o e m a u.
poem and. x o
u d x
e HI s a u p o
-. ... , , *< W*H
3i
O p O
p o e m s
s a
ems C3|g Wit

m s a
s a u
p o e m s a u
o e m s a o p
m s a u p o
a u © e
u d e m

72 Henri Chopin Robert Morgan (!974)

 wat wat wat/wat/wat/wat-.w wat wat w
ik ik i*/%mHwAw/fflt ,ik i k i
xinio m

„ '''Wffifflt lllllll
''Mffl%W/&i en en
m 't hen bom-nan tommen
i,en en e n /
#/br«nd#t/ ;

/ 7 y / w en en on
mMpA^er %
lift -

m Z#rane;
ittpuin lin puin puin'] i n pui;
i### en en en en en en en en en
en een een een een een een ej
ee zee zee zee zee zee zee z\
fin van van van van van van
%hloed biped bloed bloed ty
%an en en en en en en en
B^raven/^^ven/^ven gij
"**, en en en en en en enaj
;teeds steeds steeds s%\
M s meer
/tfchot
# | e n e n ^ # # # » # / e n en
!pmnien b$ 'Avpmmen b
f
y w J / e n en en en' en en e
i4»%»randen brande n b r a n
iZBaxen en en en en en e&#j
f | m k e n lijken lijken M
:/%jJ/hn en en en en en en/

To Mrs M. Luther King Paul deVree (1968) 73

 e
.w, wen*
n&bn i r eiunn aoer.spar
ioncifrSfT'jje jIjiicenbeersLt_t iu :
*marl
l48
fthi

r es
e r e ne r n/ r aai i; ee £. & wird „ s ^ n ^ x
:dP
..fs mit^Gar
asse
•fiftKl . d e n a l l e ^ s x e r ^ l a B s e Kaxzen w e r a g n e v
h 8 Pi
a u : z u : f e m m t : s t . mkm& tat i b e r d | u c n in„skel£gsh
r oijuxaxion,
e ar er tr es .t 2 i
a .ranfe^ae ann a n
e t s Bemuir

r lOtenxen,
u Mannern.'gp.xro
n e 1 er'e;n^fe Pu
Signw Slr^ln lp vfelg3 l r ate Sesv
^ e n m111X03
^sein.K'
r i e Hone dffr
^cfsr s£
v
i t T Q r i h ^ t / e i ninj/eoen
^^nC defiPir
se^nfei?«Krsj.it T " Of
' pile i c n . Drauf g a s S s r a« net e r e
pJ^nl^nS^t^irnle^fe^^B^
ne..niQh n una
ause
, ein
b *u
r Prau"
an zu Diexen was sSB
a en vbragegangen_en„U v ee r

Sebsicn an.aer flglj

ffiinaerwerxiger Mann
.d a l l d i e fTf|M e f
e'T A"lxeSo?ie o e r e i

74 Announcement (Anze/ge) Klaus Peter Dencker (1971)

 spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio flbpazio spazio spazio spazio spazio spazio spazio spazio spaiio
spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
•pazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazi^&^vs o n Q 7 $ f^
So apaato a p a i t o apaato apaato » > u l o e f M b i apaato apaa
spazio spazio
spazio spazio sDazi c zrz \z k o 4 p u i o apaato
k> apaato
k> a u t o
Spazio spazio
" r • p m » o •p*sfco ap

iko apaik> apaato lo i p u l o

spazio spazio s p a z i j ^
s p a z i o s p a z i o spazi— t o ^ ^ p a z i o spazio
^.topazio s p a z i o
spazio spazio spazi^^,*^-^ S ^tapazio s p a z i o
spazio spazio spazi —L^pazio s p a z i o
spazio spazio SpaZl i p f c l U ) apaato'-epaaljESSPIf J^J^pazio s p a z i o
spazio spazio £pazio s p a z i o
spazio spazio OH dil
i p u U ) apaato i p M i n S Z = E = H H E H = c c r - ~ ^\opa.zio s p a z i o
spazio spazio s p a z 1.^10 "p^to *im«i^: zz zz zz zz zz zz zz zz zz ^***° •***k> toPazio s p a z i o
£pazio s p a z i o
spazio •to to apaato Spazio s p a z i o
to apaato spaiio to apaato apaak. _ _ • _.
spazio spazi^Ilot^ toapaatoapaatoPaZlO spazio
spazio Spazio s p a z i o
spazi£~£~ apaato apaato apaato

spazio to a p a i t o apaato
to-^lopazio s p a z i o
to apaato apaato
spazio spazier
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio s p a i i o
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio
spazio spazio spazio spazio spazio spazio spazio spazio spazio

Space (Spazio) Arrigo Lora-Totino (1966) 75

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76 Illustration from teleprinter novel Informed Sources Willard S. Bain (1967)

 1 could of course cut
down on the paper yes
the paper for writing
the damn thing if I'm
careful and I don't w
aste too much of it I
can play with the pap
er cut down by one or
two reams it's true I
haven't calculated th
e paper yet but event
ually I'll have to it's quite obvious but let's calculate with cigarettes
for the time being if
a carton of cigarette
s costs $3480 as I de
cided earlier plus th
e tax of course 6 een
ts tax for a total of
3.8c then if I divide
18.25 by 3.86 I'll ha
ve the number of cart
ons that must be sacr
ificed for the chewin
g gum is it worth the sacrifice or shall I skip the whole thing in any ca
se it comes out 4.728
cartons of cigarettes
it would indeed be si
mpler to do without c
hewing gum but the mo
re you chew the bette
r you are and the les
s you smoke you'll fe
el better in the long
run particularly sine
e you can't smoke and chew at the same time supposedly therefore it's a d
eal we sacrifice 4.72
8 cartons of cigarett
es for chewing gum ho
wever it will have to
be rounded off to 5 b
ecause it's impossibl
e to sacrifice an une
ven number so here we
go 3.86 multiplied by
5 gives us the sum of
19.80 to spend on che
wing gum now if 365 packs cost 18.25 for 19.80 we can get 396 packs of gu
m which is more of co
urse than one pack pe
r day since we have o
nly 365 days to consi
der but we'll solve t
his problem later for
the time being let us
simply say that we no
w have 396 packs of g
urn Spearmint of cours
e it lasts nnch longer

Page from typewriter novel Double or Nothing Raymond Federman (\ 971)

 clic
clic
clie
clic
clic
clic
clic
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clic
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cli
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clic
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eiic
3
clic
c l i c i l e s t ferrae

78 Graphic poem Henri Chopin (S962)

 I 0 J / /

I 4:::
" • - — * » - p -
+
•f

§ =
» Ml 4
4.
r
* I —«>-

in defence of poetry Michael Gibbs (1972) 79

 e
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80 oeo ErnstJandl(1964)
zusammenfa s u n g z u :
zusammenr
zusammen " s u n g u :
LmiTK
imm<
:nf iungzusammenfassung
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e n : :{a s s u n e u
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zusammen;:aszuH
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Condensation (Zusammenfassung) Timm Ulrichs (early 1960s) 81

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82 Typestract Dom Sylvester Houedard (1969)

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^ r c ; 3 , i , , ltv'^3,3.3.,3 / / - o r t b ^ c v ^ i t i v e 3^inegs ,0 c c a f i u

Sardinian lovesong Dom Sylvester Houedard (1971)

 fl.; ••'"
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Black (Nero) Maurizio Nannucci (1964) 91

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94 Typestract Dom Sylvester Houedard (1971)

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Homage to Vasareiy Alan Riddell (1971)

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100 Typestract Dom Sylvester Houedard (1971)

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Based on a traditional Polish nursery rhyme, the text reads: Poland cooked a pot of porridge. She gave some to this one, some to this
one, and some to this one. And she wrong the neck of this one I 103
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Some relevant books Biographical notes

For those wishing t o increase their knowledge of type- A d l e r , Jeremy; born 1947 in London. Lecturer, West-
w r i t e r art, and the wider area in which it relates t o field College (London University). Began calligraphic texts
concrete poetry and other verbal/visual experiments, the 1967, thereafter t y p e w r i t e r and stencil graphics. Exhibited
following books may be of interest: at Elvaston Gallery, London, Bristol Arts Centre, Gold-
smiths' College. Published in Poetry Review, London
H. N. Werkman. Edited by Fridolin Miiller, w i t h an Intro- Magazine, British Book News, Kroklok, Kontexts, Type-
duction by Peter F. Althaus and a Biography by Jan w r i t e r , etc. Publications: Alphabox, 1973 ( W r i t e r s Forum);
Martinet (Verlag A r t h u r Niggli, 1967). Tarot Cards, 1973 (Pirate Press); Alphabet Music, 1974
(Alphabox, Pirate Press and W r i t e r s Forum). Editor of A ,
An Anthology of Concrete Poetry. Edited by Emmett Williams
an envelope magazine of visual poetry.
(Something Else Press, 1967).
Concrete Poetry: an international anthology. Edited and w i t h Bain, W i l l a r d S.; born 1938 in San Antonio, Texas. After
an Introduction by Stephen Bann (London Magazine graduating from Reed College, Portland, Oregon, in I960,
Editions, 1967). worked three and a half years as a newsman for the San
Francisco Bureau of the Associated Press. W r o t e tele-
Concrete Poetry: a World View. Edited and w i t h an Intro-
printer novel, Informed Sources, published in America 1967
duction by Mary Ellen Solt (Indiana University Press,
and in Britain 1970 (Faber).
1968).
anthology of concretism. Edited by Eugene Wildman B a r b o r k a , Zdenek; born 1938 in Rokycany, Czecho-
(Swallow Press, 1968). slovakia. Studied music in Pilsen, and became music
teacher. N o w editor of music programmes for Czech
Pioneers of Modern Typography. Edited and w i t h an Intro-
Radio. Published traditional poetry 1957-64, since then
duction by Herbert Spencer (Lund Humphries, 1969).
experimenting w i t h a series of 'textes processuels'. Con-
The Word as Image. Edited and w i t h an Introduction by t r i b u t o r t o anthology Concrete Poetry: a World View.
Berjoui Bowler (Studio Vista, 1970). Publications: Textes processuels and Les textes pour la
meditation.
Imaged Words & Worded Images. Edited and w i t h an
Introduction by Richard Kostelanetz (Outerbridge & Betsey, A n d r e w ; born 1942 in Huntingdonshire, England.
Dienstfrey, 1970). Lecturer in Philosophy at University College, Cardiff.
Mindplay. 'Edited and w i t h an Introduction by John J. C o n t r i b u t o r t o London Magazine and other reviews.
Sharkey (Lorrimer Publishing, 1971). Publications: five Converse postcards (concrete poetry)
and Anaximander, a collection of traditional poetry, 1974
konkrete poesie. (German-speaking authors only.) Edited
(Outposts Publications).
by Eugen Gomringer (Philip Reclam Jun., 1972).
Typewriter Poems. Edited by Peter Finch (Second Aeon B e n g t s s o n , Mats G.; born in Sweden. Musician as well
Publications and Something Else Press, 1972). as sound and visual poet. Pioneered visual poetry in
Sweden w i t h Bengt Emil Johnson. Publication: Nutcracker,
Text-Bilder. Edited by Klaus Peter Dencker (M. DuMont
1964 (Albert Bonniers Forlag).
Schauberg, 1972)
Breakthrough Fictioneers. Edited and w i t h an Introduction B l a k e , Gary; born 1943 in Wellington, New Zealand.
by Richard Kostelanetz (Something Else Press, 1973). Studied graphic design at Royal College of A r t , London,
and w i t h partner now runs a small design group in London
specialising in film and print communication.

B r e m e r , Claus; born 1924 in Hamburg. Theatre director

as well as playwright and poet. Lives in Zurich, where
t w o of his plays have been performed, Dichter Unbekannt,
1972, and Hier wird Geld verdient, 1973. He has been a
dramaturg at Darmstadt, Bern, Ulm, Diisseldorf and
Zurich, and translated Aeschylus, Aristophanes, Audi-
berti, Gatti, Grumberg, lonesco, Prevert, Shakespeare,
Sophocles, Spoerri, Tzara and Vitez. Publications include:
Poesie, I960; Ideogramme, 1964; Engagierende Texte, 1966;
Texte und Kommentare, 1968; Anlasse, 1970.

B r i d g w a t e r , Patrick; born 1931 in England. Lecturer in

German at Leicester University. C o n t r i b u t o r t o Apol-
linaire exhibition at Institute of Contemporary Arts in
London in 1968. Had one-man exhibition of Typograms'
at Leicester College of A r t , 1968. W o r k published in
anthologies Imaged Words & Worded Images and Mindplay.

149
C a l d w e l l , Robert; born 1946 in W h i t t i e r , California. 1967, and Sonic Icons, 1970 (all W r i t e r s Forum). As editor:
Founder and editor of Typewriter, a review started in GLOUP and WOUP, 1974 (Arc Publications).
1971 specialising in t y p e w r i t er works, though not exclu-
sively (Post Office Box 409, Iowa City, Iowa 52240 USA). Collins, Dennis W . A . ; born 1912 at Sutton Coldfield,
His w o r k here was published in Typewriter. Made wood England. Began career as commercial artist in Birming-
and plastic w o o d structures 1970-72. Publications: 15, ham. Moved t o advertising agency in Liverpool in 1933.
1973 (Bird in the Bush) and Wands, an animated field poem After Second W o r l d W a r went freelance, and nine years
w i t h Kent Zimmerman, 1973 (Bird in the Bush). later began drawing strip cartoons. Since 1958 has drawn
T h e Perishers' for the Daily M i r r o r . Has exhibited draw-
C a m e r o n , Charles. Born in England but now lives in ings and paintings w i t h the W i r r a l Society of Arts. W r i t e s
United States, where he edits a magazine. Organised some poetry.
second British international concrete poetry exhibition
while still a student at Oxford in 1965. Published in D e n c k e r , Klaus Peter; born 1941 in Lubeck, Germany.
anthology The Word as Image. Poet, artist and television film-maker. W o r k s in film and
TV department at university of Erlangen-Nurnberg. W o n
C h o p i n , H e n r i ; born 1922 in Paris. Founded Cinquieme cultural prize of city of Erlangen, 1972, and prize of the
Saison, a review for concrete poetry and theoretical texts German Foreign Office, 1974. Makes visual poetry on
for sound poetry, in 1958. Founded review O U in 1964. paper and film and room events and communications
Has pioneered use of throat microphone in sound poetry situations. Compiled Text-Bilder, an anthology of visual
since 1955. Moved t o England in 1968. Retrospective one- poetry past and present, 1972 (M. DuMont Schauberg).
man shows at Sunderland Art s Centre in 1972 and W h i t e -
chapel A r t Gallery, London, in 1974. Publications include: de Saga, Pietro. This was the pseudonym of Stefi Kiesler,
Signes, 1957; VArrivista, 1958; la Crevette Amoureuse, 1967; wife of the Austrian architect Friedrich Kiesler, who
Le Dernier Roman du Monde, 1970; Le Cimetiere, 1971. experimented w i t h the t y p e w r i t e r at the same time as
Record: Audiopoems, 1974 (Tangent TGSI06). H. N. Werkman was workin g in Holland and Josef
Albers was using the t y p e w r i t e r in his course at the
Cinicolo, Donato; born 1948 in San Bartolomeo, south- Bauhaus in Germany. She may have been associated w i t h
ern Italy. Has lived in England since 1956. Trained as a the Bauhaus, as her w o r k was published in its magazine in
mechanical engineer, then studied graphics at W a t f o r d the 1920s. She emigrated t o America, where she is
and St Martin's schools of art. N o w w i t h an environ- believed to have died.
mental design consortium. W o r k s published in various
magazines, including Typewriter. His t y p e w r i t e r city- de V r e e , Paul; born 1909 in A n t w e r p , Belgium. Teacher,
scape here was commissioned by Calder & Boyars as a poet, painter, film-maker, critic. Founder and director of
cover design for Alain Robbe-Grillet's novel Project for a review De Tafelronde and co-founder of review Lotta
Revolution in New York. Poetica. Several one-man shows, including at Studio
Santandrea, Milan, 1972, and Studio Brescia, Brescia, 1973,
C l a i r e , Paula; born 1939 in Northampton, England. 1974. Publications include: Explositieven, 1966; Po'ezie in
W r i t e s sound and visual poetry, performs in Britain and fusie, 1968; Zimprovisaties, 1968; Verbaal gelaat, 1970;
abroad, often w i t h audience participation. Besides poems Po'ezien, 1971; Po'evisiva, 1974.
in glass in conjunction w i t h husband, stained-glass artist
Paul San Casciani, recent w o r k includes scorch-mark D o h l , Reinhard; born 1934 in Stuttgart, Germany.
poems, first exhibited at the Europalia exhibition, Bel- Assistant at the Institute of Literature and Linguistics at
gium, 1974, and pieces w i t h stone shapes and textures. University of Stuttgart. Many visual poems published in
Publications: Soundsword, 1972 ( W r i t e r s Forum); S-tones book and pamphlet form since // Texte, I960; among them
improvisation text-ures, 1974 (Writers Forum). Je m'en fiche, 1961; ApfeljWurm, 1965; Geht geht und geht,
1967; Man, 1968.
CSavin, Hans; born 1946 in Ijmuiden, Holland. Founder,
1970, and editor of magazine Subvers. His concrete poetry E d m o n d s , T o m ; 1944-71. Born at Aylesford, England.
has been exhibited in group shows in Europe and South One of the finest English concrete poets and artists,
America. Publications: Uhistoire de Fhistoire, 1968; Open whose w o r k was achieving wide acclaim in the years
het woord, 1968; Holland var. 969, 1970 (De Tafelronde), immediately before his death at twenty-seven. W o n
porno Biddulph Scholarship, 1965. Was part-time teacher at
r r - poetry, 1971 (Subvers) and Uangerie, 1973 (De Leicester and Chelsea schools of art. Made glass box con-
Bezige bij Amsterdam). structions using receding layers of letters. Posthumous
show of these and his 'type tracks' at Serpentine Gallery,
Cobbing, Bob; born 1920 in Enfield, England. Co-editor London, in 1972.
and publisher of W r i t e r s Forum Poets and founder, w i t h
Peter Mayer, in 1968 of Westminster Group (WOUP) Etlinger, Amelia; born 1933 in New York. Makes 'hang-
of experimental poets. Co-editor w i t h Dom Sylvester ing poem' objects, in some of which abstract patterns are
Houedard of sound poetry magazine Kroklok. Began his typed on t o silk. Organised concrete poetry exhibition at
career as a painter, but has been experimenting w i t h Harmanus Bleecker Library, New York, 1971. Typewriter
typewriter and mimeographed t y p e w r i t e r works since works published in De Tafelronde and Kontexts.
1942, and sound poems since 1963. Organised seventh
international sound poetry festival at National Poetry F a r e e d , Iqbal; born 1941 in Mysore, India. W o r k e d for
Centre, London, in 1974. Has made several sound poetry twelve years in the Police Department but is now a
records, including one w i t h Ernst Jandl. Publications calligrapher in Urdu at the Central Institute of Indian
include: Sound Poems, 1965; Eyearun, 1966; Kurrirrurriri, Languages, Mysore. A poet of Urdu 'gazals', his w o r k
has been published in Government and private magazines H a v e l , Vaclav; born 1936 in Prague. Resident playwright
and collections. His typewriter portraits have won wide at Theatre of the Balustrade in Prague. Has had t w o plays
acclaim in India. performed, The Garden Party and Memorandum. C o n t r i -
butor t o anthologies Concrete Poetry: a World View and
F e d e r m a n , Raymond; born 1928 in France. Professor of An Anthology of Concrete Poetry. Publications include The
French and Comparative Literature at State University Anticodes - typographical poems.
of New York at Buffalo. Apart from works in literary
reviews (Adam, London; Panache, Chicago), he has ap- H i r s a l , Josef; born 1920 in Chomuticky, Czechoslovakia.
peared in anthologies Breakthrough Fictioneers and Imaged Translator, poet, teacher, journalist, editor. Co-editor
Words & Worded Images. Has published t w o bilingual w i t h B. Grogerova of anthology Poezie experimental^,
(French/English) poetry collections, t w o books on Samuel 1968. Included in folder of Czechoslovak concrete poetry
Beckett, and a t y p e w r i t e r novel, Double or Nothing, 1971 published by the Stedelijk Museum, Amsterdam, in 1970.
(Swallow Press). C o n t r i b u t o r t o anthologies Concrete Poetry: a World View
and anthology of concretism. Publications include: Slovo,
F e r r o , Luigi; born 1931 at Vercelli, Italy. In 1967 he pismo, akce, hlas, 1967, and Job Boj, 1968 (both w i t h B.
produced t w o series of concrete texts - 'Chromatic Grogerova).
permutations' and 'Iconograms' - using photo-mechanical
overlay techniques. Since then he has experimented w i t h H o l l i s , W i l l ; 1893-1973. For fifty years librarian t o the
three-dimensional modular forms. In 1968, he put on a Imperial T y p e w r i t e r Co. in Leicester, W i l l Hollis per-
'spatial game event' w i t h modules, in which the public fected his photographic style of t y p e w r i t e r portraiture in
was asked to participate, at Fiumalbo, Anfo and Novara. the years following the Second W o r l d W a r . It is not
Has exhibited in many international group shows. One- know n whether he ever saw Dennis Collins' similar
man shows: Gallery Ten, London, 1968; Centro docu- efforts. He died early in S973, w i t h o u t knowing that his
mentazione visiva, Piacenza, 1968; Galleria Sincron, works - which he called 'callitypes' - were about t o be
Brescia, 1969; Le Disque Rouge, Brussels, 1969; Rassegna exhibited for the first time, at the Typewriter A r t exhibi-
S. Fedele I, Milan, 1971 and Rassegna S. Fedele 2, Centro tion at the New 57 Gallery in Edinburgh in November.
t i . zero, Turin, 1972. Publications: moltiplicazione (Geiger,
Turin); itineraire (Agentzia, Paris) and tong, 1974 (Geiger, H o n y s , Josef; 1919-69. Born in Jicin, Czechoslovakia.
Turin). A r t i s t as well as poet. Included in folder of Czechoslovak
concrete poetry published by the Stedelijk Museum,
F i n c h , Peter; born 1947 in Cardiff. Editor of Second Amsterdam, in 1970.
Aeon Publications. Manages the Welsh Arts Council's
Cardiff bookshop, O r i e l . W o n Welsh Arts Council experi- H o u e d a r d , Dom Sylvester; born 1924 in Guernsey,
mental poetry bursary 1969-70. Edited anthology Type- Channel Islands. Has been Benedictine monk at Prinknash
writer Poems, 1972 (Second Aeon and Something Else Abbey, Gloucester, since 1949. Was a prominent figure
Press). Has published ten books and pamphlets of poetry, in introducing concrete poetry t o Britain in 1961, and
including w o r k in the traditional field. since then has become its leading theorist as well as an
outstanding practitioner. Is co-editor, w i t h Bob Cobbing,
G a r n i e r , Use; born 1927 in Kaiserslautern, Germany. of sound poetry review Kroklok. His t y p e w r i t e r com-
Collaborator, in many works, w i t h husband Pierre. positions (which he calls 'typestracts') have been exhibited
all over the w o r l d and he has had one-man shows at the
G a r n i e r , Pierre; born 1928 in Amiens, France. Editor Lisson Gallery, London, in the late 1960s, at the Victoria
since 1963 of spatialist review Les Lettres. Publications and Albert Museum, London, in 1971, and at the Laing A r t
include: Les Armes de la Terre, 1954 (Andre Silvaire); Gallery, Newcastle, in 1972. His w o r k has not yet appeared
Seconde Geographie, 1959 (Gallimard); Prototypes, 1964 in book f o r m , but among his pamphlets are: Kinkon, 1965,
(Silvaire); Poemes franco-japonais, 1966, w i t h Seiichi and Tantric Poems Perhaps, 1966 (both W r i t e r s Forum).
Niikuni (Silvaire); Spatialisme et Poesie Concrete, 1968
(Gallimard), and Esquisses Palatines, 1972 (Silvaire); and a J a n d l , Ernst; born 1925 in Vienna. Teaches at grammar
record, made w i t h Use Garnier and Seiichi N i i k u n i , schools there. Has been experimenting w i t h new forms
Textes sur Spatialisme, 1972 (Columbia Records, Japan). of poetry since mid-1950s. One of the most successful
sound poets, he established h i m s e l f - and perhaps sound
G i b b s , Michael; born 1949 in England. Editor of visual poetry in general - at the Albert Hall poetry festival,
poetry magazine Kontexts. Has exhibited in several group London, in 1966. His visually oriented t y p e w r i t e r works
shows. One-man exhibition at In-Out Center, Amsterdam, are only marginal t o his main effort in the sound and
1974. Included in anthologies Mindplay and Typewriter concrete field. Publications include: Andere Augen, 1956
Poems. Publications: Life Line, 1972 (Kontexts) and Con- (Bergland Verlag); klare geruhrt, 1964 (Eugen Gomringer);
notations, 1973 (Second Aeon). mai hart lieb zapfen eibe hold, 1965 ( W r i t e r s Forum); Lout
und Luise, 1966 (Walter Verlag); Sprechblasen, 1970, and
G r a y H u l s e , Tristan; born in Cheshire, England. Became Der Kunstliche Baum, 1970 (both Hermann Luchterhand).
interested in visual poetry through the works of Diter
Rot and Dom Sylvester Houedard. Published 'Logograms' J o h n s o n , Bengt Emil; born 1936 in Saxdalen, Sweden.
(concrete haiku) in Haiku Byways: 5, w i n t e r 1972-73. W o r k e d there as a shopkeeper till 1965, then moved t o
Stockholm, where he works in the music department of
G r e e r , Robin. Lives in London, where he was active in Swedish Radio. Pianist and composer as well as visual and
concrete poetry movement in mid-1960s, specialising in sound poet. In early 1960s produced series of expression-
t y p e w r i t e r works. C o n t r i b u t o r t o anthology The Word as istic t y p e w r i t e r picture poems and since then has w r i t t e n
Image. sound poems for radio and stage performance. Organiser
of first six international sound poetry festivals held in a legend, 1973 (Massassauga Editions).
Stockholm in conjunction w i t h Swedish Radio. Publica-
tions include: Hyllningarna, 1963; Essaer om Bror Barsk M c D o n o u g h , T i m ; born 1949 in Saginaw, Michigan.
och andra dikter, 1964 (Albert Bonniers Forlag); Gubb- W o r k s in publishing in New York. Has recently experi-
drunkning, 1965; Semikolon (with Lars-Gunnar Bod in), mented w i t h audience participation sound poems and has
1966. w r i t t e n a series of nature poems w i t h Magic Marker on
30-by-40-inch posterboard. In 1973 published a small-scale
K e r n , W . Bliem; born 1943 in Philadelphia. A r t i s t as version of 'Cityscape Modular Mural Poem' in Assembling,
well as sound and visual poet. First prize in sculpture and and gave reading of 'Phive' (all the five-letter words in
painting show at Avanti Gallery, New York, 1969. Director the Random House Dictionary of the English Language) at the
and founder of Sound Poetry W o r k s h o p, t o find new forms Tenth Annual Avant Garde A r t Festival in New York. A
in poetry. Publication: sound and visual sequence Medi- selection of his poems appeared in Typewriter in 1974.
tationsmeditationsmeditations, 1974 (New Rivers Press).
M a y e r , Peter; born 1935 in Berlin. Teaches visual com-
K o l a r , J i r i ; born 1914 in Protivin, Czechoslovakia. One munication at Goldsmiths' College (London University).
of the most prominent figures in the Czech avant-garde. Co-founder, w i t h Bob Cobbing, in 1968 of Westminster
W o r k e d as a joiner, labourer and waiter before becoming Group ( W O U P ) of experimental poets. Makes 3D/film
a w r i t e r in 1943. In late 1940s became member of artists' poems. Has lectured on visual poetry at Institute of
group 42. Editor of Prague publishing house of Dilo, Contemporary Arts and National Poetry Centre,
1945-48. One-man shows of his collages in London, Genoa, London. Showed in Europalia exhibition, Belgium
Vienna, Miami and elsewhere. Has w r i t t e n t w o plays, 1974. Magazine contributions include analytical and c r i t i -
Pest in Atheh, 1965, and Unser taglich Brot, 1966. Con- cal articles in Poetry Review and Journal of Typographical
t r i b u t o r t o anthologies Concrete Poetry: a World View, An Research. Represented in anthologies Mindplay and Type-
Anthology of Concrete Poetry, and Text-Bilder. Publications writer Poems. Publications: 'Yin Yang' cube, 1968; Gamme
include: Hommage an K. Malevich, 1959; Y 61, I960; de gamma, 1970; Earmouth, 1972.
Evidente Gedichte, 1965; Der Aesop aus Werschowitz, 1966.
M o r g a n , Robert; born 1930 in New York. N o w lives in
Kostelanetz, Richard: born 1940 in New York. Has London, where he works as a lecturer in film production
edited numerous anthologies, among them Imaged Words at the London College of Printing. Is also a film director
& Worded Images, 1970 (Outerbridge & Dienstfrey) and - mainly of television documentaries - and a freelance
Breakthrough Fictioneers, 1973 (Something Else Press). His graphic designer. His contribution here is part of his
other publications include: poetry - Visual Language, 1970 design for the sleeve of Henri Chopin's record Audiopoems.
(Assembling Press); criticism - The Theatre of Mixed
Means, 1968 (Dial Press), and Metamorphosis in the Arts, N a n n u c c i , Maurizio; born 1939 in Florence. As well as
1972 (Abrams); and autobiography - Recycling, 1974 exhibiting throughout Europe in group shows since 1961,
(Assembling). As editor: John Cage, 1974 ( W . H. Allen). he has had 17 one-man shows between his first, at the
gallery La Cimaise in Brest in 1965, and his neon works
Lloyd, A n d r e w ; born 1943 in Surrey, England. C o n t r i b - at the Salone Annunciata in Milan in 1973. Member of the
utor t o Kontexts and anthologies Mindplay and Typewriter group of the Studio di Musica elettronica S 2 F M, in
Poems. Publication: The Quietest Ice (Vertigo). Florence. Has made object poems, books, multiples, and
researched into the applications of the computer in the
L o r a - T o t i n o , A r r i g o ; born 1928 in T u r i n . Founded visual and musical field.
experimental review antipiugiu in I960, and modulo, 1966,
first number of which was an international anthology of N i i k u n i , Seiichi; born 1925 in Sendai, Japan. Founder and
concrete poetry. His paintings, and poems in plexiglass, editor of magazine for concrete poetry and spatialism,
have been widely exhibited since his first one-man show Asa, 1964. Since then his concrete poetry has been
in Milan in 1959. A series of his chromatic t y p e w r i t i n g exhibited and anthologised in Europe and America. In
texts was published in De Tafelronde, 1967. He set up, mid-1960s, while living in Paris, collaborated w i t h Pierre
w i t h Carlo Belloli, the Museum of Contemporary Poetry Garnier in producing Poemes franco-japonais, a series of
at T u r i n . Organised concrete poetry exhibition at Venice visual texts which combine passages typed on Japanese
Biennale 1969. His sound poetry, Phonemes, was published w i t h those on Western typewriters. One-man show at
on disc by Franz Mon, 1971 (at Neuwied am Rhein), and Whitechapel Gallery, London, in 1974. C o n t r i b u t o r t o
by Source, 1971 (issue no. 9, Sacramento, California). anthologies Concrete Poetry: a World View, An Anthology of
Concrete Poetry and anthology of concretism.^ Publications
McCaffery, Steve; born 1947 in Barnsley, England, but include: Zero. On, 1963; Fonetisch - en klanggedicht En-
has lived in T o r o n t o since 1968. He has been experi- trance, 1965; Mer (with Use Garnier), 1966; Lips and
menting w i t h language disintegration/reintegration both jealousy, 1970.
sonically and visually since 1966. Has exhibited at the
Stedelijk Museum, Amsterdam, and in Stuttgart, Paris P a r r i t t , Simon; born 1950 in Wimbledon, London.
and London. He is co-editor of Gronk, co-founder Studied at Croydon art school and Goldsmiths' College.
of the T o r o n t o Research Group (with B. P. Nicho!) and a Exhibited t y p e w r i t e r works at Wiggins Teape, London,
member of the sound poetry ensemble The Four Horse- and Goldsmiths' College in 1973. W o r k s published in
men. Publications: Ground Plans for a Speaking City, 1970 Microphone (cover) and A, both in 1972. Publication:
(Anonbeyond Press); Transitions to the Beast, 1970 Zeotrope, 1974.
(Ganglia Press); maps: a different landscape, 1972 (Ganglia/
G r o n k ) ; Carnival: first panel 1967-70, 1973 (Coach House P a z a r k a y a , Yiiksel; born 1940 in Izmir, Turkey. Lives in
Press); O'ws Waif, 1973 (Coach House Press); Louis Riel: Germany. Has w r i t t e n plays for the stage and radio, as
well as fiction and poetry (traditional and concrete). Con- Swimmer, 1971; Gift Parcel, 1972; Certainly Milk Flame
t r i b u t o r t o anthologies Konkrete Poesie International, 1966 Bee, 1972; Thirty Signalist Poems, 1973; Approaches, 1973.
(Hansjorg Mayer, Stuttgart), and Text-Bilder.
U l r i c h s , T i m m ; born 1940 in Berlin. Studied architecture
P o p o v i c , Z o r a n ; born 1944 in Jugoslavia. Lives in Bel- at Hanover, 1959-66. His visual poetry, texts, pictures,
grade, where he has exhibited in concrete poetry shows objects, films and environments have been shown in
and is a regular contributo r t o the review Signal. C o n t r i - Germany and internationally since 1961. He is now pro-
buted t o Jugoslav event-art performance at Demarco ducing works of 'total art, idea art, body art, nature art,
Gallery at Edinburgh Festival, 1973. Published in anthology instant art, basic art, placebo art, etc.'. Has had thirty-five
Text-Bilder. one-man shows. C o n t r i b u t o r t o anthology of concretism.
Publications include Klartexte, 1966; Spielpldne, 1969; and
R i d d e l l , Alan; born 1927 in Townsville, Australia. Brought Welter in Text, 1969.
up in Scotland, he founded the poetry review Lines in
Edinburgh in 1952. Started as traditional poet but began Valoch, J i r i ; born 1946 in Brno, Czechoslovakia. W o r k s
w r i t i n g concrete poetry in 1963, after being introduced in print room of museum at Brno, where he is also an art
to the genre by Ian Hamilton Finlay. Published first visual critic and theorist. His t y p e w r i t e r works have been
poem in Encounter in 1955. W o n Heinemann Prize in widely published in magazines and his objects have been
Australia in 1956 and Scottish Arts Council Poetry Prize shown in many exhibitions. Publications include: Tipo-
in 1968. One-man concrete show at New 57 Gallery, grammi, vibrazioni, constellazioni particulare, 1964; Mecca-
Edinburgh, in 1971. Publications: Beneath the Summer, nici, 1965; Poemi ottici ll, 1967; and Schemi, 1967.
1952 (Macdonald, Edinburgh); Majorcan Interlude, I960
(Macdonald, Edinburgh); The Stopped Lansdcape, 1968 / a r d ? J.. P.; born 1937 in Felixstowe, England. Lecturer
(Hutchinson); and Eclipse, concrete poems, 1972 (Calder in English at University College, Swansea. Organised
& Boyars). Welsh Arts Council concrete poetry exhibition in Cardiff,
1969. Experimental and concrete poetry published in
S h i m i z u , Toshihiko; born 1929 in Chiba, Japan. Photo- Poetry Review, Time O u t , London Magazine, Contrasts,
grapher and jazz critic as well as artist and poet. Member Second Aeon, and in anthology Typewriter Poems. Publica-
of avant-garde artists' group V O U , founded in Tokyo in tions: t w o collections of traditional poetry, The Other
1935. Made first 'letter pictures' in 1965, and since then Man and The Line of Knowledge (both Christopher Davies),
his w o r k has appeared in exhibitions in Japan and over- and folder of concrete, From Alphabet to Logos, S972
seas, including ? Concrete Poetry organised by the Stedelijk (Second Aeon).
Museum, Amsterdam, in 1970. C o n t r i b u t or t o Text-Bilder.
W e r k m a n , H. N . ; 1882-1945. Born in Leens, Holland.
Stacey, Flora F. F. Nothing is known of Flora Stacey After an early career as a journalist, became a small
beyond the fact that in the late 1890s her t y p e w r i t e r jobbing printer in the early 1920s in the university t o w n
drawings were much admired in Britain for their pains- of Groningen. Began t o make one-off prints using printers'
taking skill and craftsmanship. materials - display types, rules, rollers and so on - as well
as his pioneering 'typeprints' on the typewriter . Was
Takahashi, Shohachiro; born 1933 in Japan. Poet and murdered by Nazis a few days before the liberation of
photographer. Member of Japanese avant-garde artists' northern Holland in A p r i l 1945. His typographical origina-
group V O U . Like his friend Toshihiko Shimizu, has ex- lity is appraised in Herbert Spencer's Pioneers of Modern
hibited in many international group shows. One-man Typography, 1969 (Lund Humphries), and his art in general
shows at Gallery Yamagoa, Kitakami, 1961; Centro Tool, in H. N. Werkman, 1967 (Verlag A r t h u r Niggli).
Milan, 1971; Galerie Senatore, Stuttgart, 1971. Publica-
tions: Oiseaux, 1968; Vent, 1968; Ombre, 1968; Terre d'eau W i l l i a m s , Emmett; born 1925 in Greenville, South
terre de feu, 1969; Domaine de <a-'i>, 1972. Carolina. From 1946 t o 1966 lived in Europe, where he
met Claus Bremer and Daniel Spoerri, w i t h both of whom
T h e m e r s o n , Stefan; born 1910 in Plock, Poland. W i t h he collaborated in Darmstadt in founding the avant-garde
wife Franciszka, a painter, made several avant-garde films magazine Material, in 1957. This was completely set on
in Warsaw in the 1930s. Served in the Polish army in typewriters and one of his pieces here was taken from
France during the Second W o r l d W a r and escaped t o an issue devoted t o Williams's own w o r k . Is now chief
England after the fall of France. Since the war has w r i t t e n editor of the Something Else Press, for whom he edited
almost exclusively in English. Publications include: experi- An Anthology of Concrete Poetry in 1967. Publications in-
mental poetry - Semantic Divertissements, S962 (Gaber- clude: 13 Variations on 6 words of Gertrude Stein, 1965;
bocchus Press); novels - Bayamus, 1949 (Editions Poetry Sweethearts, 1967; and A Boy and a Bird, 1969.
London), Cardinal Poldtuo, 196!, and Tom Harris, 1967
(both Gaberbocchus); stories — Wooff Wooff or Who killed Z e n k e r , Helmut; born 1949 in St Valentin, Austria. For
Richard Wagner I, 1951 (Gaberbocchus); and essays - t w o years a schoolteacher, he is now a freelance w r i t e r in
factor T, 1956, Kurt Schwitters in England, 1958, and Vienna and the T y r o l . Since 1968 his visual texts have
Apollinaire's Lyrical Ideograms, 1968 (all Gaberbocchus). appeared in various magazines, including Wespennest,
Contra, Antiquarium, Neues Forum, Eseismilch and
T o d o r o v i c , M i r o l j u b ; born 1940 in Skopje, Jugoslavia. Auswege. C o n t r i b u t o r t o anthology Text-Bilder. Show of
Founder of Signalism, an avant-garde movement, and chief visual texts at Camera Obscura, Vienna, in 1969.
editor of Signal, its magazine. Has exhibited in inter-
national group shows and has had one-man shows in
Jugoslavia. Publications include: Planet, 1965; Signal, 1970;
Kyberno, 1970; Trip to Starland, 1971 ; The Pig is an excellent
 Acknowledgements

For permission t o print the works in this book, the Concrete Poetry (Something Else Press, 1967), t o the
following acknowledgements are made: author.
Michael Gibbs: 'In defence of poetry' from Connotations
Jeremy A d l e r : 'Leaflikebird' from London Magazine and (1973), t o Second Aeon and the author.
'Likecityscape' from British Book News, t o the author. Tristan Gray Hulse: 'Moon song' and 'Moon l o o m ' , t o
W i l l a r d S. Bain: Illustration from novel Informed Sources the author.
(1970), t o Faber & Faber and the author. Robin Greer: 'Buddhist mantra' f r o m The Word as Image
Zdenek Barborka: 'Nine meditations on a theme of Jin (Studio Vista, 1970), t o the author.
Kolar', t o the Stedelijk Museum and the author. Vaclav Havel: 'Estrangement' from Modulo, t o the author.
A n d r e w Belsey: 'Train types' from London Magazine, to Josef Hirsal: '4444', t o the Stedelijk Museum and the
the author. author.
Mats G. Bengtsson: T w o pages from Nutcracker (Albert W i l l Hollis: ' A r a b' and 'Police dog Tosca', t o the British
Bonniers Forlag, 1964), t o the author. Typewriter Museum.
Gary Blake: ' T y p e w r i t e r ' , t o the author. Josef Honys: 'Letter typogram', t o the Stedelijk Museum.
Claus Bremer: 'Lesbares in unlesbares ubersetzen' Dom Sylvester Houedard: 'Sonic water' from The Word
from Concrete Poetry: an international anthology (London as Image (Studio Vista, 1970), t o the author; 'Oracular
Magazine Editions, 1967), 'Dove' from Text-Bilder (M. stupor', 'Groovy for a good thing t o happen' and t w o
DuMont Schauberg, 1972) and 'Infantryman', t o the untitled red and blue typestracts, t o the author;
author. 'Italic ode', t o Sandra Raphael and the author; 'Sardinian
Patrick Bridgwater: 'Anatomy of a tomato' from Imaged lovesong', t o Nino Congiu and the author; untitled
Words & Worded Images (Outerbridge & Dienstfrey, typestract from A, t o the author.
1970), t o the author. Ernst Jandl: 'oeo' from Sprechblasen (Hermann Luchter-
Robert Caldwell: 'Susan' from Typewriter, t o the author. hand, 1970), t o the author.
Charles Cameron: 'Poem for Rosemarie' from The Bengt Emil Johnson: 'Homage t o John Cage' and untitled
Word as Image (Stud io Vista, 1970), t o the author. from Essaer om Bror Barsk och andra dikter (Albert
Henri Chopin: ' B i r d ' and 'Graphic poem' from Le Dernier Bonniers Forlag, 1964), t o the author.
Roman du Monde (Ed. Cyanuur, 1970), t o the author. W . Bliem K e r n : T w o pages from Meditationsmeditations-
Donato Cinicoio: 'Cityscape', t o Calder & Boyars and meditations (New Rivers Press, 1974), t o the author.
the author. Jiri Kolar: 'Albers' and 'Tinguely' from An Anthology of
Paula Claire: 'Sea shanty' f r o m Soundsword (1972), t o Concrete Poetry (Something Else Press, 1967), t o the
W r i t e r s Forum and the author. author; 'Fountain' from Text-Bilder (M. DuMont
Hans G a v i n : 'luv', t o the author. Schauberg, 1972), t o the author; 'Brancusi' and t w o
Bob Cobbing: 'Whisper piece' from The Word as Image untitled, t o the Stedelijk Museum and the author.
(Studio Vista, 1970), t o the author; ' W o r m ' from Richard Kostelanetz: 'Mullions' from Visual Language
Kurrirrurriri (1967) and 'Beethoven today' from Sonic (Assembling Press, 1970), t o the author.
Icons (1970), t o W r i t e r s Forum and the author. A n d r e w Lloyd: '5th dolphin transmission' from Type-
Dennis W . A. Collins: 'Churchill', 'Duke of Edinburgh' and writer Poems (1972), t o Second Aeon and the author.
'Queen Elizabeth', t o the author. A r r i g o Lora-Totino: 'Space' from Concrete Poetry: a
Klaus Peter Dencker: 'Announcement', t o the author. World View (Indiana University Press, 1968), t o the
Pietro de Saga: 'Composition' from Pioneers of Modern author.
Typography (Lund Humphries, 1969), t o Herbert Spencer. Steve McCaffery: T w o panels from Carnival (Coach House
Paul de Vree: Untitled from Explositieven (De Tafelronde, Press, 1973), t o the author.
1966), t o the author; 'To Mrs M. Luther King', 'Arise the Tim McDonough: 'Labyrinth', t o the author.
dead' and 'Life is a l o t t e r y ' from Zimprovisaties (De Peter Mayer: Facet of the 'Yin Yang' cube, t o t h e author.
Tafelronde, 1968), t o the author. Robert Morgan: 'Henri Chopin', t o Tangent Records and
Reinhard D o h l : 'Rauf runter r a u f , t o the author. the author.
Tom Edmonds: 'Towards me w r i t i n g a book', t o Miss Maurizio Nannucci: 'Black', ' W h i t e ' and 'Yellow', t o the
Frances M. Newman and Dr Edmonds. author.
Amelia Etlinger: Untitled (page 123) from De Tafelronde Seiichi N i i k u n i : 'Light' from Poemes franco-japonais (Andre
and cover design from Kontexts, t o the author. Silvaire, 1966), t o Pierre Garnier and the author.
Iqbal Fareed: 'Gandhi', t o the author. Simon Parritt: 'Grid 4' and 'Cityscape' from A, t o the
Raymond Federman: Page from novel Double or Nothing author.
(Swallow Press, 1971), t o the author. Yiiksel Pazarkaya: 'Guerilla' from Text-Bilder (M. DuMont
Luigi Ferro: 'Chromatic permutations', t o the author. Schauberg, 1972), t o the author.
Peter Finch: T e x t u r e poem for the moons of stars' from Zoran Popovic: 'Portrait of the artist's wife' from Text-
Typewriter Poems (1972), t o Second Aeon and the author. Bilder (M. DuMont Schauberg, 1972), t o the author.
Use Garnier (as Pierre Garnier). Alan Riddell: 'Homage t o Vasarely', 'The honey pot' and
Pierre Garnier: Untitled from Prototypes (Andre Silvaire, 'Aubade' from Eclipse (1972) t o Calder & Boyars and the
1964), t o the author; ' L i g h t ' from Poemes franco-japonais author; 'Two flags' from London Magazine, t o the
(Andre Silvaire, 1966), to Seiichi Niikuni and the author; author.
'Defeat of the Teutonic Knights at Tannenberg' from Toshihiko Shimizu: 'Six meditations', t o the author.
Text-Bilder (M. DuMont Schauberg, 1972), t o the author; ShohachiroTakahashi: 'Wate r land', t o the author.
'Vines' from Esquisses Palatines (Andre Silvaire, 1972), Stefan Themerson: 'Visual t e x t ' , t o Peter Mayer and the
t o the author; 'Vegetal sign' from An Anthology of author.
Miroljub Todorovic: 'Snake' from Text-Bilder (M. DuMont Apart from thanking all the artists, poets and typographers
Schauberg, 1972), t o the author. w i t h o u t whose co-operation this book would not have
Timm Ulrichs: 'Condensation'from konkrete poesie (Philip been possible, I would like t o thank particularly the
Reclam Jun., 1972) and 'Typotexture', t o the author. following:
Jiri Valoch: Untitled, t o the Stedelijk Museum and the Alexander Moffatt, chairman of the New 57 Gallery Com-
author; and ' i ' from Concrete Poetry: a World View mittee, Edinburgh, for in the first place encouraging my
(Indiana University Press, 1968), t o the author. idea of an international exhibition of t y p e w r i t er art and
J. P. W a r d : 'Section through a t r e e - t r u n k ' from From then showing it at the New 57 in November 1973; Richard
Alphabet to Logos (1972), t o Second Aeon and the author. Allen, Exhibition Consultant t o the Polytechnic of Central
H. N. W e r k m a n : Typeprints on pages 19, 21, 22, 24, 25 London, for bringing the Edinburgh show t o the Con-
and 26, to Groninger Museum; typeprints on pages 20 course Gallery, London, in February 1974; Liesbeth C r o m -
and 23, t o Stedelijk Museum. melin, Assistant Curator, Department of Applied A r t ,
Emmett Williams: 'Like attracts like' and ' A festive Stedelijk Museum, Amsterdam, for lending a number of
marching song in the shape of 10 dixie cups' from the Czechoslovak works for inclusion in the exhibitions
Concrete Poetry: an international anthology (London and this book; J. van Loenen Martinet, Head of the Print
Magazine Editions, 1967), t o the author; and Prospectus Room, Stedelijk Museum, for lending six W e r k m a n origi-
for magazine Material, t o the author. nals t o the Edinburgh show; Mark Haworth-Booth, Assist-
Helmut Zenker: 'Sunday' from Text-Bilder (M. DuMont ant Keeper of Circulation, Victoria & A l b e r t Museum, for
Schauberg, 1972), t o the author. lending the Tom Edmonds type tracks t o the t w o shows
and Miss Frances M. Newman and Dr Edmonds for
Every effort has been made t o trace the ownership of allowing them t o be in the book; W . A. Beeching,
copyright material and make full acknowledgement for Director, British Typewriter Museum, Bournemouth, for
its use. Any information regarding omissions w i l l be lending the W i l l Hollis callitypes t o the t w o shows and
welcome. allowing them t o be in the book; Derek Norman, for
photographing many works for the original exhibition ;
Ian Barker, of the British Council, for facilitating the photo-
graphing of the Houedard typestracts; Allen Barker, for
casting a painter's eye over the Introduction; A. G. H.
Elsegood, of Pitman's, for unearthing Miss Stacey's butter-
fly from a mound of old numbers of the Phonetic Journal;
lastly, Bob Cobbing and Peter Mayer, for helping so
generously by lending books and for suggesting names for
inclusion in the original exhibition.
 Index by author

Adler, Jeremy 14,33,40-1 Werkman, H . N . 10, I I , 19,20,21,22,23,24,25,26

Bain, W i l l a r d S. 14,76 Williams, Emmett 13,89,145
Barborka, Zdenek 129-37 Zenker, Helmut 10,146
Bauhaus student 10,12,27,28,29
Belsey, A n d r e w 10, 63
Bengtsson, Mats G. 140, 14!
Blake, Gary 64
Bremer, Claus 13,48,49
Bridgwater, Patrick 113
Caldwell, Robert 6!
Cameron, Charles 120
Chopin, Henri 45, 72 (portrait of), 78
Cinicolo, Donato 39
Claire, Paula 14,59
Clavin, Hans 51
Cobbing, Bob 10,44, 147, 148
Collins, Dennis W . A. 15, 69, 70, 71
Dencker, Klaus Peter 74
de Saga, Pietro 10, 12,30
deVree, Paul 47,54,55,73
Dohl, Reinhard 13
Edmonds,Tom 14,15,104-7
Etlinger, Amelia 14, 122, 123
Fareed, Iqbal 68
Federman, Raymond 77
Ferro, Luigi End-papers, 14, I 10, 126, 127, 128
Finch, Peter 36
Garnier, Use 46,53,58, 121
Garnier, Pierre 34,46,53,58, 121
Gibbs, Michael 79
Gray Hulse, Tristan 37,60
Greer, Robin 101
Havel, Vaclav 87
Hirsal, Josef I 14
Hollis, W i l l 10, 15,65,66
Honys, Josef 138
Houedard, Dom Sylvester 12, 15, 82, 83, 84, 85, 86, 94,
100, 124
Jandl, Ernst 80
Johnson, Bengt Emil 142,143
Kern, W . Bliem 96,97
Kolar, Jiri 14,35,42,43,98, 116, 117
Kostelanetz, Richard 14, I 18
Lloyd, Andrew 139
Lora-Totino, A r r i g o 75
Mayer, Peter 99
McCaffery, Steve 15,108-9
McDonough, Tim 125
Morgan, Robert 72
Nannucci, Maurizio 14,91,92,93
N i i k u n i , Seiichi 34
Parritt, Simon 10,38,62
Pazarkaya, Yiiksel 90
Popovic, Zoran 10,67
Riddell, Alan 52,95, IIS, 112
Shimizu, Toshihiko 102
Stacey, Flora F. F. Frontispiece, 10, I I
Takahashi, Shohachiro 144
Themerson, Stefan 12,103
Todorovic, Miroljub 50
Ulrichs, Timm 13, 14,81, 119
Valoch, Jin 14,88, 115
W a r d , J. P. 56-7

156
Index by country

Australia Sweden
Alan Riddell 52,95, I I I , 112 MatsG. Bengtsson 140, 141
Bengt Emil Johnson 142,143
Austria
PietrodeSaga 10, 12,30 Turkey
ErnstJandl 80 Yiiksel Pazarkaya 90
Helmut Zenker 10, 146
United Kingdom
Belgium Jeremy Adler 14,33,40-1
Paul deVree 47,54,55,73 Andrew Belsey 10,63
Patrick Bridgwater I 13
Canada Charles Cameron 120
Steve McCaffery 15,108-9 Paula Claire 14,59
Bob Cobbing 10,44, 147, 148
Czechoslovakia Dennis W . A. Collins 15, 69, 70, 71
Zdenek Barborka 129-37 Tom Edmonds 14, 15, 104-7
Vaclav Havel 87 Peter Finch 36
Josef Hirsal 114 Michael Gibbs 79
Josef Honys 138 Tristan Gray Hulse 37,60
Jin Kolar 14,35,42,43,98, 116, 117 Robin Greer 101
Jin Valoch 14,88, 115 W i l l Hollis 10, 15,65,66
Dom Sylvester Houedard 12, 15, 82, 83, 84, 85, 86, 94,
France 100, 124
Henri Chopin 45,78 Andrew Lloyd 139
Use Garnier 46,53,58,121 Peter Mayer 99
Pierre Garnier 34,46,53,58,121 Simon Parritt 10,38,62
Flora F. F. Stacey Frontispiece, 10, 11
Germany J . P . W a r d 56-7
Bauhaus student 10, 12,27,28,29
Claus Bremer 13,48,49 U n i t e d States
Klaus Peter Dencker 74 W i l l a r d S. Bain 14,76
Reinhard Dohl 13 Robert Caldwell 61
Timm Ulrichs 13, 14,81, 119 Amelia Etlinger 14,122,123
Raymond Federman 77
Holland W . Bliem Kern 96,97
HansClavin 51 Richard Kostelanetz 14, 118
H . N . W e r k m an 10, I I , 19,20,21,22,23,24,25,26 Tim McDonough 125
Robert Morgan 72
India Emmett Williams 13,89, 145
Iqbal Fareed 68

Italy
Donato Cinicolo 39
Luigi Ferro End-papers, 14, 110, 126, 127, 128
A r r i g o Lora-Totino 75
Maurizio Nannucci 14,91,92,93

Japan
Seiichi Niikun i 34
Toshihiko Shimizu 102
ShohachiroTakahashi 144

Jugoslavia
Zoran Popovic 10, 67
MiroljubTodorovic 50

N e w Zealand
Gary Blake 64

Poland
Stefan Themerson 12,103

157
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