M 40/1967
Maurizio Nannucci
1976
M 40/1967
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Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to ...
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M 40/1967
Maurizio Nannucci
1976
Amsterdam: Multi Art Points
Unpaginated [188 pages]
21.6 × 15.4 cm
Special edition of 250 with 3 original graphics; signed and numbered 131/250

Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to the visual and musical fields, sign progressions, object poems, and experiments with neon as a form of writing, among others.


 


This special edition comprises an anthology of 90 square visual poems (dattilogrammi), produced through the repetition of individual characters obsessively struck on an Olivetti M40 typewriter, and three numbered and signed loose relief prints that inhabit the space between the haptic and the visual. A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.

Amsterdam: Multi Art Points
Unpaginated [188 pages]
21.6 × 15.4 cm
Special edition of 250 with 3 original graphics; signed and numbered 131/250

Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to the visual and musical fields, sign progressions, object poems, and experiments with neon as a form of writing, among others.

 

This special edition comprises an anthology of 90 square visual poems (dattilogrammi), produced through the repetition of individual characters obsessively struck on an Olivetti M40 typewriter, and three numbered and signed loose relief prints that inhabit the space between the haptic and the visual. A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.

DESCRIPTION

Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to the visual and musical fields, sign progressions, object poems, and experiments with neon as a form of writing, among others.

 

This special edition comprises an anthology of 90 square visual poems (dattilogrammi), produced through the repetition of individual characters obsessively struck on an Olivetti M40 typewriter, and three numbered and signed loose relief prints that inhabit the space between the haptic and the visual. A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.

Amsterdam: Multi Art Points
Unpaginated [188 pages]
21.6 × 15.4 cm
Special edition of 250 with 3 original graphics; signed and numbered 131/250

Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to the visual and musical fields, sign progressions, object poems, and experiments with neon as a form of writing, among others.

 

This special edition comprises an anthology of 90 square visual poems (dattilogrammi), produced through the repetition of individual characters obsessively struck on an Olivetti M40 typewriter, and three numbered and signed loose relief prints that inhabit the space between the haptic and the visual. A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.

MORE BOOKS

Nannucci’s artistic practice in the 1960s and ’70s is punctuated by what he called “operative methodologies” for concrete and visual poetry: semantic and phonological research, electronic music scores, investigations into the applications of computers to the visual and musical fields, sign progressions, object poems, and experiments with neon as a form of writing, among others.

 

This special edition comprises an anthology of 90 square visual poems (dattilogrammi), produced through the repetition of individual characters obsessively struck on an Olivetti M40 typewriter, and three numbered and signed loose relief prints that inhabit the space between the haptic and the visual. A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.

MORE BOOKS