MANIFESTOS AND OTHER ESSAYS

POETRY – SCIENCE

(Manifesto of poetical science)

"Modern science introduces man into a new world. If man thinks science he renovates himself as a thinking man."Gaston Bachelard: Rational Materialism

1. SOURCES
New pages of reality, opened by physics, chemistry and biology, have long stood before poets waiting to be translated into verses. Poets, however, ignore them, "do not see them" or do not accept them. In these fateful moments for art and science, poetry turns its head indifferently or fearfully from the unseen growth of technological civilization, beginnings of conquering cosmos, discoveries of mesons, antimatter, quasars, the secrets of proteins, protoplasm, light, nitrogen and carbon, biochemical and physiological processes in plant tissues, karyokinesis.The breakthrough of science into the heart of matter (living - genetics, dead - nuclear physics) and the heart of universe (radio astronomy and astrophysics) not only failed to get closer, but even moved scientist more away from artist.Ancient ages, however, did not know for this huge and seemingly unbridgeable gap between science and poetry. Creating giant cosmogonies, encompassing in their poems the destiny of entire world (universe); Hesiod, Empedocles, Parmenides and Lucretius were at the same time poets, philosophers and scientists. It was not before the Middle Ages and alchemists, when scientific disciplines stepped on the hard soil of rationalism, building their own picture of the world and their language, that that gap became complete.Developments of chemistry and physics led, by the end of nineteenth century, to a shattering of Boltsman's mechanist picture of the world and breaking down the magnificent, but basically simple and one-sided vision of macro- and micro cosmos built on atom as a "compact indivisible" particle. Somewhat later on, with adopting Planck's quantum theory and Einstein's special and general theory of relativity, formal-logical and rationalistic structure of scientific spirit, cherished for centuries, was shaken. Finally, by De Broglie's waves of matter, Heisenberg's uncertainty principle and more recent discoveries in biology (structure and role of protoplasm and proteins in living matter, relation of discontinuity quantum phenomena with mutation, role of genes and chromosomes in formation of living organisms), science has almost approached the sources of the irrational.Modern scientists-visionaries made, in creation of magnificent hypotheses about matter (living and dead) and universe, in travelling into the unknown, into transcendental, perhaps the first step toward getting poetry and science closer, accepting one of the basic instruments of poetry - imagination. Yet, scientific mind shackled by logic formulas can not solve itself the basic mysteries of matter and universe, no matter how much it liberates itself from those shackles: origin of life, protein, creation of matter, origin of universe. For new breakthroughs into the unknown a new unity of poetry and science is needed.

2. POETICAL VISION OF THE UNITY OF MAN, MATTER AND UNIVERSE

Poetry coupled with science (poetical science), accepting way of thinking of scientist and modern prophet, adopting from science its exactness and from poetry its analogy and sense for the irrational, will be able to explain to us paradoxes of matter and to solve the secret of creation. It will have, first of all, to break with tyranny of feelings and with needs of hearts. To renounce self-lauding and futile posing questions, whether this time needs it or not. Such as it is now it is absolutely unnecessary. Coupled with science, reading and deciphering the new pages of universe, poetry will not pose questions about the sense of its existence any more.Having accepted imagination from romanticist, as a creative instrument and sense for the miraculous, new poetry must stand in all other things on the positions absolutely opposed to the position of Romantism and various forms of modern Neo-Romantism. In that sense there will also exist its endeavours for a gradual de-subjectivization of poetical picture. It strives to clear away with the narcissoid and insufficiently justified right of poet to be a constant and sovereign object of poetry. Poetical science will equalize man (as an object of poetry) with things, nature, chemical, biochemical and physiological processes, living and dead substances, giving advantage neither to him nor to his relationships with nature, placing him and assigning him a place in all we mark as universe.Subduing abstract scientific scheme and symbol to an avalanche of new language and new form, bringing all his mind in a state of activity where all abilities - those of scientist, poet and alchemist - are dependent on each others, shattering by his, extremely zealous imaginative consciousness a major part of scientific, logical and rationalist basis, the new poet will be able to create a vivid poetical picture, a new vision of the world, to open unimagined roads of poetical science from the dead scheme and dry formula, by a method of intuitive synthesis.Only so understood and realized, new poetry will be the highest act of thought having before it man, matter and universe as a riddle.

3. VERHAAREN, RENE GHIL, FUTURISTS

All previous attempts of getting poetry closer to science - Emil Verhaaren, scientific poetry of Rene Ghil and, on a special plane, futurists and neo-futurists - declined due to inability of poets to realize a synthesis of poetical and scientific language, i.e. to penetrate deeper into lingustic system of science by poetry.Whereas Verhaaren and futurists accepted just external marks of new technological civilisation - aeroplane, automobile, phonograph, electrical light, machines as an object of poetry - Rene Ghil widened too much the circle of sciences ready to synthesise with poetry, including there also sociology and history, and so he has lost himself in the labyrinths of numerous and non-related scientific disciplines.

LINGUISTIC EXPERIENCE

A bit more careful linguistic examinations enable us to discern several languages in one linguistic system. First of all, daily (practical) and emotional, and then poetical and scientific ones. The essential thing that makes different the daily and emotional language from the poetical and scientific ones is communicability. With poetical and scientific language the communicability is brought down to a minimum. The science itself, such as we have it, is just a very complex linguistic system. The foundations of this linguistic system - newly created words, notions and symbols, were posed by an abrupt development of science three to four hundred years ago. The past refreshing of poetical language was done mainly on the sources of practical and emotional language. Language of science was neglected, to say the least. Basic goal of new poetry is penetrating that linguistic system.Function of scientific language is usually exhausted in exact-logical formulations, symbols, hypothesis and laws. To poetical language an esthetical function is essential. To deprive scientific language of its exact-logical function and to move it toward esthetical-irrational radiations would mean to succeed in one of the ways of realization of new poetry.

1967/68.

MANIFESTO OF SIGNALISM
(REGULAE POESIS)
(Theses for a general attack on the current poetry)

1.1. SCIENCE
1.1.1. The world of science is not, according to some, a world of beings either, but only of quantified regularities, skilful linguistic constructions and hopeless squaring of human mind.
1.1.2. If science is a language then it is a language of the very essence of the world.

1.2. CURRENT POETRY
1.2.1. The things and beings of the current poetry do not speak in their own language. In the dialogue with the world and time they use language of poet exclusively.
1.2.2. Laws of the language of poet are laws of the things and beings of current poetry.
1.2.3. The fact that that language is modified immediately after establishing its relationship with reader's conscience does not diminish the importance of the former conclusion. In the vertical and horizontal hierarchy of languages, (languages of readers, languages of the moments of reading), the language of poet spoken by things and beings of poem serves as a basis for all future linguistic superstructures conditioned by establishing a relationship between that language through things and beings of poem and consciousness of each reader separately.
1.2.4. This language, originated by mixing the language of poet through poem and the language of readers through their intensified consciousness, means a language of a moment, hard determinable temporally and spatially, basically a language with atomized and exclusive impact only on the senses of one subject, we mark as a language of the current poetry.

1.3. PRIVATIZATION OF POETRY
1.3.1. The language of the current poetry is not universal.
1.3.2. The language of the current poetry is private and exclusive.
1.3.3. From Romanticism until today poetry has been becoming more and more private.

1.4. POEM
1.4.1. Poem is outside of poet: in processes, in relationships of things and beings of the universe.
1.4.2. Poem is in the world. Poem is a happening of the world.

1.5. POETRY
1.5.1. Poetry is the highest form of the world's existence.

1.6. FREEDOM OF POEM
1.6.1. New poetry demands an absolute freedom of poem.
1.6.2. This freedom is implied in relation to poet as well as to the world the poem originates from.

1.7. LANGUAGE
1.7.1. Language is anything this facilitates the creation of a poem.
1.7.2. By means of language the poem leaves the formlessness of things and processes in the nature, and begins its dialogue with the universe.
17.3.The language of the signalist poetry must be a product of two combined forces: the poem as a way in which the world occurs, and of the poet as being inhabiting that very world, a \being without whom the poem cannot become independent and begin its dialogue with the universe.

1.8. THE LANGUAGE ENERGY
1.8.1. Signalist poetry will mean total release of the language energy.
1.8.2. In the existing poetry, the process of releasing this energy is slow and oxidative. The breaking of the basis of language matter down to its molecules (words) and atoms (letters), will bring about reflexive processes of fission and fusion of the different elements of the language being (additive, graphic, and other manifold radiation of words) as well as total release of the language energy.
1.8.3. The potential language energy is measurable

1.9. THE ROLE OF THE LANGUAGE
1.9.1. The inexpressible in objects, beings, matter processes and their mutual relation attempts to be transmitted by a language arising from the symbiosis of the poet language, the machine language and the not-yet-realised poem language.

1.10. A POSSIBLE DETERMINATION FO SIGNALIST POETRY
1.10.1. Signalist poetry can be determined either as a combined activity of the poet and the machine, or as an activity of the poet only, enabling the poem to go out from the formlessness of things and processes with the world by means of the language (and the graphic form).
1.10.2. Objects and beings in signalist poetry must speak the language of the universe.
1.10.3.In the subsequent process between the being of the poem and the essence of the world, the poet and the machine are but catalysts.

1.11. THE LIMITS OF THE LANGUAGE
1.11.1. The poet must continuously expand limits of the existing language, for to expand the limits of language is to expand the limits of the world. And the poem is imbedded in the very structure of the world. It is a way in which the world occurs.

1968.

1. SIGNALISM

a) The term signalism derives from the Latin signum (sign). Signalism is an avant-garde creative movement whose aim it is to affects and revolutionize all the arts, introducing the kind of thinking that is common to exact science and initiating new processes in the field of culture by means of radical experiments and method within a permanent creative revolution influenced particularly by the technological civilization, the sign civilization, the increasing use of science and scientific methods and the emergence of the computer. These factors are considered as new creative instruments, inspirers of creative ideas and aids in their implementation.b) Signalism stands for absolute experimentation in all the arts.c) Signalism requires the experimenting artist to base his thinking and activity on postulates and method of the exact science. It is only in so doing that we can reinvest the art with its original concreteness and truthfulness, while at the same time destroying all the sediments of mystique and mystification that have been gathering on it for centuries, finally to render it completely unable to follow the increasingly rap [id development of human society,d) The fact that the avant-garde of our times is based on a scientific and not artistic approach (contrary to certain previous epochs) must by no means discourage the artists; still less must it make him resist or fight science and the new technological civilization. Any struggle against science is doomed in advance, for it is struggle against man himself.

1.1.SIGNALIST POETRY
a) In the general inflation of the spoken and written wore, of writing and thinking in the form of linguistic cannonade and babble, in the general inflation of linguistic myth mania and mystification, signalism will - in literature, and, more specifically, in poetry - aim at an utter linguistic reduction go the word to the bare sign. (This referees to signals poetry in the narrow sense of the word).
b) In the rejuvenation of poetry and the language, signalism will make use of all available means offered by the technological civilization, from the computer, through application of mathematical and other exact method to disintegrate the current linguistic system and way of thinking, to the abolition for the language itself (language being a written, national, closed system of communication),gradually introducing mathematical and other exact-science symbols as the solely universal and solely possible language of the new civilization.
c) By abolishing national language and the present-day flood of the written already worn-out, imprecise and non-informative work, and by introducing the graphic ideogram based on mathematical and other exact-science symbols whose meaning has not been devaluated, signalism will - in the field of literature in general and poetry in particular - make for totally new and unforeseen faculties of expression.

1.1.1.METHODS AND CLASSIFICATION OF SIGNALIST POETRY
1.1.1. Signalism in the narrow sense
1.1.2. Computer poetry
1.1.3. Aleatoric (or stochastic) poetry
1.1.4. Statistical poetry
1.1.5. Permutational, combinative and variative poetry
1.1.6. Scientific poetry
1.1.7. Technological poetry
1.1.8. Signals kinetic and phonetic poetry
1.1.9. Signals manifestations

1.1.1.Signalist poetry in the narrow sense dispenses with the word and takes up the letter as the basic means of expression. By breaking the language down to its atoms (i.e. letters), signalism endeavours to release the new and hitherto unknown language energy.
1.1.2. Computer poetry results from co-operation with a computer. Depending on the degree and manner of co-operation between the artist and the computer, there exist several methods and kinds of computer poetry, thus:

1.2.1. CP without the author's final intervention
1.2.2. CP with interventions of varying degrees
1.2.3. non-mechanical mathematical creation based on computer produced language material
1.2.4.poetic creation based on computer produced language material
1.2.5.Visual CP based on programming of letters and signs.

1.1.3. The following three categories of poetry may be jointly defined, in terms of this classification, as mathematical poetry. Such poetry is inspired or created by the application or with the aid of certain mathematical methods and means of creation. Of the three, the closet o computer poetry is aleatoric or stochastic poetry, which is the result of computer and mathematical methods being applied (in combination with each other) on language material

1.1.4. Statistical poetry is created by the application of certain basic principles of statistics and the theory of probabilities; specifically, it is created the use of random-figure tables in breaking the current poetic-language systems.

1.1.5. Permutational, combinative and variative poetry is created by the use of methods of mathematical combinatory.

1.1.6. In scientific poetry, the poet uses data from various sciences and presents them to the reader (or spectator) either verbatim or with slight poetic interventions. The result thus presented is an entity in its own right, a sum of not only scientific but also aesthetic information.

1.1.7. Technological poetry. In his endeavours to freshen the poetic language, the poet may utilize certain external phenomena and signs common to the consumer society (abbreviations, advertising slogans etc.) his poetic interventions invest them with new meaning.

1.1.8. Signalist kinetic and phonetic poetry dispenses with the word and the letter as a means of expression and introduces pure sign, mime, movement, light effects, sounds, objects, colored surfaces.

1.8.1. Aesthetic manifestation of the poetic machine Zvezdozor (Star Refractor).
1.8.2. Products of the poetic machine Signatvor (sign Maker).
1.8.3. Signalist projects
1.8.4. Signalist objects

1.1.10. Signalist manifestations. All kind of group or individual manifestations of signalist poetry.

1969-70.

COMPUTER POETRY

COMPUTER POETRY is obtained collaboration with electronic calculators. Depending on the degree and way of collaboration between artists and calculator there can be more types and methods of this poetry.Course of working with digital computer:
1. Preparation
2. Program
3. Food-entrance organ
4. Machine creation
5. Machine production
6. Poet's intervention
7. Poet's creation

Preparation:
Preparation as the first phase of working with digital computer consists of collecting the words and texts required for fabrication of poetry. Group of words can contain varied quantities of: nouns, adjectives, pronouns, verbs, conjunction etc., or it may contain quantity and types of words already determined in advance, which suits some exact measures and preceding tests of the language in which the poetry is going to be fabricated. group of words prepared for fabricating the poetry can be just accidental (selection from various texts without any advance established idea, words taken from dictionary in a order or by random selection, words suggested by collaborators : technicians, operator, stenographer etc.) Most often, that group of words and symbols is determined in advanced, first of all as per the poet's idea he has fort the final machine product.

.... Programme:
Digital computer works only with programmed. Without programme machine cannot execute any operation. It is dead. Program is group of orders on the basis of which machine solves the problems. "Programming represents process of jotting down algorithm in form of final group of orders (instructions) of the universal automatic." (Gluskov)

Food-entrance organ:
The machine can not receive its "food" required for creation in form of words, series of words of sentences, as we use them in speech and writing. Data given to the calculator for processing relate to logical mathematical forms. The numerical system of solving problems is universal, because with its help can be codified visual, sonic or any other information.A part of this translation from language and repertoire of symbols, we have already signified as "programming". Calculator, however, does not operate the numbers in the literal sense of the term, In computer there are numbers, that is words, put as electric impulses, and all operations are executed thorough leavi9ng the current through the network of conductor and circuit breaker. That is why the next operation in the working of computer which we have called as Food- in coming organ, consists of translation, that is coding, of food which we deliver to the computer in form of programmer, of perforation on the paper tapes with the help of special machine. /Only in the form of perforations on paper tracks the food can be put into the entrance organ of the computer, where it will be changed into electric impulses, "electrical language", which the machine alone can " understand" and with the help of which alone can be solved given problems.

Machine creation:
If the preceding action of collecting the material. formulation of idea, processing of programme. Feeding of machine, it means all that depended on the creator, on the man, was relatively long and painstaking, computer does its part in creation of work (machine creation) quickly and faultlessly. There is no delay; no indecision all is played in short period of time, as per the precise formulated laws of machine's logic.Immediately on entering the machine the perforated tracks passes through the "reader" (photocells) which translate the perforations into electric impulses? Electric impulses then got the memory of the machine where these are put to be used later during the work.Arithmetical organ is the part of the machine which performs calculating and logical operations. All these operations are performed on the basis of so-called binary mathematical system and are carried out as per basic calculation work.Controlling and commanding organ regulates the automatic work of computer and sends results to the exit organ.

Machine production:
Under the machine production is understood whole lingual material (all variants), which the computer, after machine creation (permutation and joining of words, groups of words, parts of sentences, words) throws out. Before the author, in that connection, remain two alternatives. First is to choose one part, one or more variants of machine production and that presents them as finished worked or art without any intervention, the final collection of aesthetic information.In such a case, the artist's work would be exhausted in preceding task : collecting words, repertoire o symbols, groups of works, programming and in the final phase choosing the variants of parts of machine product.

Poet's intervention:
Second alternative to the artist is intervention. Here we will talk of intervention taken in the strict sense of the term so as to differentiate with other types of poet's interventions in the computer's lingual material : out of machine mathematical creations and poet's creations. This type of intervention limits itself, first of all, to selection of one variant of machine production or de-variant, combining of parts of various variants, throwing in of successful connections of words from the rejected variants into the selected variant, throwing in of conjunctions, here and there now wooers and connections which didn't pass through the machine, transfer and reason of words and connections, changes in grammatical forms and genders of words and eventual classing into lines. (verses).

Poet's creation:
In this method of work poet is inspired and creates by and with the lingual material which the machine has offered him. Here, primarily, the machine appear as a helper in breaking the language, in breaking those flowing-poetic and usual - logical sequence of human thoughts. The machine breaks the language and warns the poet of all possible after-effects or a total experiment. Its warning is in fact invitation and demand for such an experiment. By the method of machine the poet, again from the broken language, whose improbability has been considerably enhanced, organizes a new language sharpening its aesthetic-informative value.

September – December 1969.

SIGNALIST POETRY PROPER
(VISUAL POETRY)

1. One of the principal tasks of signalist poetry proper (visual poetry) is to overcome verbal poetic expression.
2. This kind of poetry aims at a gradual de-verbalisation and de-semantics of poetry.
3. Given the new communication system where the written (national) language loses an increasingly great deal of its importance, it is quite natural for the poet, facing a language incapable of ensuring universal communication (the kind required by the electronic era),to resort to the more universal and considerably more communicative visual language.
4. Abolishing the current languages with all their shortcomings, signalist poetry will, in the new technological era, come to exercise a direct effect through purely visual and phonic means.

II

5. Although cases of visualized poetry and texts in general can be found earlier in the history of many nations cultures and literatures (in this country : the highly expressive mediaeval manusripts, Zaharije Orfelin and other mannerists of the Serbian baroque, Djordje Markovic-Koder in the 19th century, Secession early in this century, and, between the two world wars, Dadaist Dragan Aleksic, Zenitist Ljubomir Micic and surrealists Marko Ristic and Dusan Matic with their poetic collages), signalist poetry is in fact a phenomenon and a mode of expression peculiar to our times and to the man of the new technological civilisation.
6. What makes certain artists - notably writers - view the new poetry with much hesitation and suspicion is its hybrid nature, for signalist poetry is no longer poetry, in the usual, traditional sense of the world. Abandoning language (write, national language) and seeking a mode of expression in the use of signs and vocal - visual elemeents, signalist poetry approaches, and consumes a great deal of, design (graphic and otherwise),music and - not frequently - other art forms.
7. the rapprochement between the new poetry and other art forms has made for its gradual transcending of traditional forms of literary communication. In addition to appearing on the pages of books and magazines, signalist poetry is printed in the form of posters, exhibited, performed (signalist manifestations), recorded on tape and wax (signalist phonetic and phonic poetry) and produced by means of lighting effects of machines constructed specially for the purpose (signalist kinetic poetry).
8. In view of all this, the new poetry requires a new type of reader: not a passive consumer of finalized poetic messages, but an intelligent and congenially creative player of a spiritual game in which final results depend, among other things, on the possibility of combining given elements and on the "reader" himself being inspired.
9. The letter, space and their interactions are the basic operative units of the new textual structures.
10. The blank space becomes a special reading value (verbal-visual value) in experimental texts.
11. The living space of signalist poetry is three-dimensional. As different that of the current (traditional) poetry, which is one-dimensional.
12. The communicative - and at the same time, poetic-value of the letter in the new verbal-visual structure of a signalist text, where space also becomes a principal parameter of semantic determination, equals (and often surpasses) its sign value in the current language.
13. In addition to letters or whole words as surpassing structures, the expanse of a signalist poem can also be filled with other signs, electronic, technical and other symbols, drawings, collage, photographs etc., which exist in the defined space of the poem creating verbal-visual meta/linguistic constellations.

1969-70.

GESTURE SIGNALIST POETRY

Signalist manifestations, action poetry, poetry in process, poesia publica, happening poetry, gesture poetry - call it as you will - is one of new modes of poetic expressions. Within the spectrum of the various currents collectively termed SIGNALISM, gesture poetry would be situated at the extreme avant-garde left.The gesture poet creates freely in space, making use of various elements - from verbal and visual through to sonorous - in the process. What becomes poetic language here is a conglomeration of verbo-voco-visual elements in process. This kind of signalist poetry abolishes all boundaries between poetry, theatre, happening and concrete everyday action. In and buy means of it, the poet becomes an inalienable part of his act of creation and his whole being becomes indulged in the informative effect (or radiation) of the poem.As a means of communication in its own right, gesture signalist poetry cannot be interpreted in terms of current poetic-linguistic categories. Being based principally on gesture and sign and expanding the boundaries of language considerably above and beyond the fixed, defined and partially already explored areas of poetic speech, gesture signalist poetry calls for broader semiological interpretations as well.

1971.

SIGNALIST VISUAL POETRY - A NEW LITERARY DISCIPLINE

Signalist visual poetry is now well-established as a separate new literary discipline, not only within signalism as a broader movement but also within literature as a whole. This has been possible for various reasons, First of all, signalist visual poetry - despite a certain historical continuity (the existence of visual texts and visual poetry in ancient Greece and Rome as well as in mediaeval literature, European baroque literature, Apollinairre's Caligrammes and the work of Dadaists, futurists and surrealists)- is a product of the electronic civilization, the civilization of the image, the sign, the poster, TV, the video cassette, the new printing techniques, the telecommunication satellites and other forms of the technological society increasingly drawn together no planet-wide basis, a society that knows of no linguistic or national borderlines and the artificial barriers put up by the small, closed-in and neurotic literatures burdened by traditionalist myth manias.While we have seen that is has been presents in man's mind ever since the very dawn of civilisation, signalist visual poetry proper was born in the civilization of our times, which abandons the old and slow modes of communication in favour of mass media. In other words, this kind of poetry comes into being at a crucial point in the development of technological and social forces, and that it is precisely this new society - less and less concerned with the national and more and more with the planetary - that will make for its full expansion the almost immediate future.Other reasons making for the emergence of signalist poetry are to be found in the elements that have replaced the language. In visual poetry these are letters, signs, various graphic symbols, photographs and collage. In phonic poetry, these are the sound and the voice. In gesture poetry, these are action and gesture.Breaking the ossified, molecular structure of the current poetic language, this type of poetry takes us away from the linguistic strata of the partially explored and known picture of the world and into more profound areas of a still-closed, still-unexplored universe of the sign and semiology. Thus-by destroying and removing the intermediary of language - it draws us closer to objects and beings, or rather to their essence. At the same time, it serves as the sole ray of hope in times saturated with repeated verbal explosions, more-of -the same times leading towards non-identity which threatens to throw us, at any moment, into the teeth of absence and tedium, into death itself for there can be no real life in the monuments when "reality turns literary" while "literature degenerates and turns unreal". In these times and in this moment, the sign is perhaps the sign of the being itself at its still unpredictable semiological level. Visual facts and the increasingly exact structure of the new planetary and signalist thought are profoundly and necessarily opposed to all that is semantic and mythical in man's multi-stratum being.Numerous questions have multiplied in the quasi-prophetic ecstasies of traditionalist literature while no answers have been supplied. Man has already reached the point of resignation where he is compelled to stop speaking and thinking, thoroughly entangled in his own network of verbal mystifications. It may be well be that only the art of such people as will with their entire complex rational and sensory structure and without waste of energy be fused together into a single planetary Being made more exalted by powerful impulses of thought infinitely more vibrant and senses infinitely more receptive, will be able to furnish answers to some long-posed questions and to express certain more relevant truths.Turned now to the logos, for "logo is always in the existence, and as such it is the source of discovering the truth", leaving behind all the former paraphernalia of literature (particularly its language, since language "autonomies and becomes an independent realm - a world within the world - constituting a reality into itself; discoursing, in turns its black to the universe"),signalist visual poetry and other forms of signalist literature are the first heralds of a future mass-media art transmitted by powerful means of information whose principal aim will be to expand human sensory consciousness and which will cease to be the privilege of certain classes and elites.The old aspects of magical -religious art and the present aspects of reality-presenting art, created for centuries and transmitted by one -directional and inefficient means (oral transmission followed by Gutenbergian alphabet-civilization) will soon disappear. Already the thought processes are determine by an exceedingly rapid development and efficiency of man's aids-machines-in an in intercommunicative civilization which adopts the image as its fetish and its principal language of communication. The currents of images, the currents of a new iconic language of the unified and all-embracing electronic civilization will flow together to form a phantasmagorical river of future planetary and signalist thought.

1972.

COMMUNICATION-BEING-THOUGHT

Communication (1.communication) transmitting, transmission, connection. Behaviour, intercourse, contact, traffic, traffic artery. communicative (1.communiativus) transferable, which is easily transmitted to others, communicable, giving information readily; talkative, accessible. Community (1.communitas) fellowship, inclination for fellowship; common good. Communicate (1.communicare) communicate, communize, make common, report, impart, announcement, present (or reveal) to the public; be in touch with someone, correspond, interchange, Communicatio idiomatum (1.communicatio idiomatum) juncture of divine and human characteristics.Communication is contained in the very essence of the being. It is one of the basic elements and factors of its existence, and undoubtedly the measure of the evolution from primary, rudimentary consciousness on a powerful consciousness on a planetary scale. I communicate, ergo I exist, ergo I create. The nature of communication is multilateral in the most profound sense of the word. It is socio-historical as well as exact and artistic and - and its most intimate and human aspect - subjective.Its methods, its strength and its weakness are the closed circles of cummunities, of societies interconnected in terms of time, space, religion, language and technology, of oases of beings bound firmly together by invisible but well-nigh unbreakable threads. Is the lifeblood and nervous system of a highly complex organism, but at the same time its insidious disease which will destroy it immediately upon realising that the organism has become self-sufficient, thereby preventing further expansion of communication. Its means are individual stairs in the staircase of civilization. Communication is the foundation stone and nutriment of man's discoveries, a fairly-tale monster that devours itself only to be reborn ever-larger and ever more insatiable.In signalist communication, whose principal air it is to make it possible for us to explore the being in disagreement with the entropic coldness of all that surround us (time, objects, establishment and laws) is the purpose of signalism as a particular way of thinking.The signalist is being of the future, the being of a future permanently conquered anew, of the very same future awaiting it on the border posts of the blue planet, or the already visible future in the planetary orbits, or thee still dreamed-of future hidden in the dark depths of the frightening galaxy. Where are then the limits to this growing communicability of the signalist phoenix that feeds on the ashes of its own soul and whose thought is engaged in a never-ending dialectical play? Where are the boundaries of that being relentlessly driven towards new conquests and caught in the neurotic convulsion of the information explosion working on a feedback basis? They do not exist, or rather they are unpredictable just as the boundaries of thought are unpredictable.Thought paves the way for the being. It is the perpetual explorer penetrating beyond the borders of the visible and the tangible, beyond the borders of comparative peace and order, to reach the worlds yet to be conquered. The crisis of traditional and classical art is primarily the crisis of thought. The inability to break out of the vicious circle of definite systems of values and knowledge, the inability to "create new propositions of art" (Kosuth), confine the being of the artists to the futile spaces of the known, expected, unthought-of and repeated. The artist's consciousness becomes in this case a machine reproducing superseded thinking - or rather, reproducing what used to be thinking until it lost the ability to explore and discover.The signalist thought opens the say to a new-civilization visual and total-communication being, a being of the play and signs, of planetary consciousness and profoundly intuitive an highly intellectual capacities. It is the power of informative and conquering communication radiating the multi laterality of its progress towards things and truths not only given but also marked by our hard patient exploratory experience.Herein lie the endless possibilities of this being in the sphere of the arts, a sphere free from any strict purposefulness of limited space, perishable material, dull historical curiosities and the reducible moments of the commonplace. Art dematerializes and begins to occur; more goes out into the world - what fits in the picture of the visible world of facts and things (this has hitherto meant objects of, i.e. art given modelled in any material) - is now only a document, an instruction project, a verbal, visual, auditory, or tactile description of the artist's thought process.This is where we reach the moment the signalist thought identifies with what we had termed as art; the two find a common point in the permanent exploration of the nature of being and the nature of art in the depth of the uncertain and the vague, progressing towards and invisible destination which is blurred but the watchful eye of the death, but which may well turn out to be only a new and exciting beginning crowned with a chaste halo of infinity.

1973.

EXACT LANGUAGES AND BIRTH OF VISUAL POETRY IN SIGNALISM

In the manifesto "Poetry - science" (Manifesto of poetical science) in the year 1968, basic assumptions of early phase of Signalism (Scientism) were emphasized: antitraditionalism, antisubjectivism, striving for a synthesis of poetry and science, researching work in language. Some of this also represents essential innovations in our poetry in general.Anti-Romanticism is a basis of militant signalist activism, its opposing to disguised and renovated traditionalism in Serbian poetry.For Signalism, time of Romanticism in literature is past irreversibly, along with Surrealism as its peak. In that sense poetry must be desubjectivized, and the emphasized I of previous schools and directions must appease itself considerably and lose some of its conspicuous narcissism.Poet is not a prophet (vates) any more who calls upon gods and utters in high voice "the most profound truths" of this world. He is just one of particles of the universe, gifted with consciousness, thinking, desire for cognition and imagination whereby he reveals gradually secrets of the universe. He can not go alone to the way to the unknown any more, he must couple with scientist, and rely his imagination on scientific discoveries and cognitions. Only poetry and science, scientist and poet, can conquer, build up, think through planetary and start set off to the cosmic, to the unpredictable.The cosmic is still a darkness, abyss, death. Behind the curtain of darkness and cold enormous and unconceivable torments of matter and energy, cosmic radiations, destroying and building forces, frozen or hot unknown worlds are awaiting. Death is as real there as space and time are, the latter two not representing just a Kantian a priori form of comprehension. They ceased to be abstract and absolute, a spiritual construction. They become a place of building, wandering, life. They are a part of human experience and not some "function of universe". Space and time are not defined any more, they are researched. One sets off to a researching campaign with a newly conquered language. It has been found partly in the language of science.Language is a main factor of that synthesis, of that action of wandering and researching. Fresh and unspent, turned to the future, a language that multiplies itself along with spaces. Keys and ways are found to revive formulas, symbols, in order to imagine into a new poetical and linguistic being. Suddenly all becomes so wonderful behind the darkened curtain of light years, under evasive events in micro world.The language of exact sciences is vivid and changeable. It grows with every new thing, new particle of universe. Created are new words, new notions, marked and named are new, just observed inhabitants of that invisible world. Firstly proton and electron, then neutron, antineutron, neutrino, ka-meson, pi-meson, collide, wander in their little closed spaces. They are alive, they move, their behaviours should be monitored. Every their new movement, state, is a relationship and new word, notion, mark, information. The grammar of science changes continually as well as poetical grammar.Languages of poetical science conquer spaces, the cosmic ones as well as those spiritual. But not languages (words, sentences, speech) only and exclusively. For science and poetry are not just arranged syntactically and by grammatical, imaginative and other rules determined chains and sequences of words any more. They are also graphs, drawings, signs, descriptions of paths, graphemes of dissipated letters, explosive syntagms, a chaos of roads, the knitting, pictures, meanings. Language of poem and language of research has widened, extended, drawn out from its tight suit of words, sense, order, negentropy and stepped into the yet non investigated kingdom of sign and semiology.Its drawing out from verse, from word, happened gradually, with stuttering and with troubles. There were firstly calligramm pictures, then numbers, mathematical symbols, function graphs, equations. Word was condensing, disappearing and reappearing like a transformed exact symbol, a graph that flows windingly and freely in all directions instead of verse, of sentence. The entire space of page is being conquered for a poem. Poem becomes free completely in that space where it is enabled to radiate its energy in all directions.Poetical language has, therefore, spread considerably having penetrated and seized exact linguistic systems, permeating with diagrams, numbers, exact symbols, with all that science operates and communicates with. Here one would look actually for the roots of signalist visual poetry and the first steps of shattering the language into the letter and sign totalities, where poem loses its previous basic existential-semantic structure. Language is split in a radical, but precise, refined chemical process of spirit and consciousness. Its foundation are breaking down. The elements joined closely thus far tear away slowly and begin to hover freely and radiate in space, poem, joining into new, unpredicted and unpredictable totalities, quite opposed to previous linguistic and poetical experience.The things have not stopped, however, just on this and such widening of poetical language. Already in the second manifesto of Signalism it was emphasized explicitly that language is all that makes a poem possible. Thus, it seems, the notion of languages usable for building of poetry has been extended to ultimate limits. It will later on, in the third manifesto "Signalism" (1970), get more precise formulations, when also signalist kinetic, phonic, object and gesture poetries are formulated beside the visual one.

1975.

FRAGMENTS ON SIGNALISM (I)

1. TECHINCAL CONSCIOUSNESS AND HISTORICAL CONSCIOUSNESS
According to Max Bense technical consciousness in our time replaces Hegel's historical consciousnes, for beside the classical world of mater and energy also information and communication has been opened to the world.

2. ON THE NEW FUNCTION OF ART
In the new technological era art will not disappear; its function, however, will be radically transformed. From the primary magic-religious function, through the modern-age reality-presenting art of the future, with all the things that the electronic civilization offers as well as the completely new technological reality, it will become "an instrument for the modification of human consciousness and fort the organization of new kinds of sensibilities".

3. SIGNALISM AND TRADITION
Avant-garde (signalist) art is in such a position that is completely dispenses with tradition. What is this reflected in? Primarily in a different comprehension of the function of art. Signalist are, besides presenting new ideas, especially concerned with widening the human sensory awareness. For these reasons this new art is in its being non-didactic and experimental, in the sense in which exact sciences are experimental.If we notice the claim of some philosophers and theorists that man is a being of tradition and that he will, as such, allways oppose fiercely to a radical denying of tradition, for he considers every change and attack of such kind to be an attack on his spiritual and real existence and conformity, than ubnderstandable are, to an extent, also the frontal and severe attacks on Signalism and new revolutionary ideas brought by it, first of all, in the area of using machines and mathematical models for creation of art.

4.THE BEING OF SIGNALIST ART
The phenomenon of signalist art as total art leads us into a labyrinth of new visions of planetary absoluteness of a being liberated from everything which we characterize as traditionalistic and didactic art. A being whose sensory apparatus is turned to the reception of the subtlest impulses and tremors of the aero-cosmic and ecological vitality. A being unburdened by formal-materialistic and linguistic impossibilities. A being-consciousness whose meta-lingual communication exceeds everything we are able at this moment to imagine. Being-and-not only-that wave-signal intertwined interdependent, logically imperceptible and inexhaustible aesthetic information. A being-universe.

5. ON LUDIC BASIS OF SIGNALISM
The basis of Signalism is Ludism. That Ludism has its two essential aspects in Signalism. It can be mathematical programmed Ludism (theory of probability, cybernetic machines, statistics, mathemaical tables of accidental numbers), mathematical combinatorics and intuitive Ludism of spontaneous creative mind.We consider, however, that to Signalism and signalist creative methods the closest is a combination of intuitive Ludism with mathematical one, where initial impulses and even particular products of the latter can serve outstandingly well as a basis for further superstructuring combinations of intuitive Ludism.

6. CURRENT (TRADITIONAL) AND SIGNALIST (AVANT-GARDE) POETRY
Basic difference between current (traditional) and signalist (avant-garde) poetry is based on the fact that traditional poetry starts from already settled and established poetical values, while avant-garde poetry tends to affirm new values and especially itself as a value.

7. BASIC AIMS OF SIGNALISM IN POETRY
1. Demistification of poetical act and poet.
2. Acceptance of the new realities of technological civilization and especially of the role of man in electronic-planetary space of existence.
3. Abolishing of present poetical languages as means of literatural manipulations and mistifications.
4. Making use of all possibilities given by exact sciences beginning with using machines and special mathematical models and methods in creativity, to using already generally accepted exact symbols for creation of one universal meta-language.
5. Poetry must include and become a means of mass communication.

8. ON CREATION OF A NEW SPIRITUAL CLIMATE IN LITERATURE.
In its essence, signalist poem makes, at least partly, feverish efforts of all kinds to express aesthetical state of language whose perimeters have been drawn i the special atmosphere of technological and consumer civilization. (signs, abbreviations, instructions, advertisements). In negating grammar and syntax, negating some previous important stimuli of poem, emphasizing more and more constructivist elements kombined with certain dose of intuitive Ludism, signalist poem creates a ground for a quite different climate in literature.

9. SIGNALIST WORK
A signalist work is an open work. It is an entire galactic system ready to endure all interventions without being destroyed.This self-creative characteristic of a signalist work is reflected not only in the case when different elements are added to expand it, but also when these elements are taken from it and it is reduced to a gesture, an idea a concept, even to "blank" whiteness of a sheet of paper or an empty unmarked space. A signalist work, even in these extreme cases of dematerialization, destruction, de-verbalizitaion, de-phonization etc.., depending on the kind of art we are talking about, radiates its totality and indestructibility.On the other hand, by the indestructibility and self-creative characteristic we mean its multivalence, its plenitude of aesthetic values, hence the possibility offered to future epochs, by its inexhaustibility, multitude of meanings and associations and different, constantly new ways of widening the human sensory awareness, of attracting permanent attention.

10. CLASSIFICATION OF SIGNALIST POETRY
Signalist poetry represents a set of various experimental poetries and methods. All those poetries and methods we can classify into two main groups. In the first group are those that experiment in the frames of language and the verbal, not including visual and other elements.
There belong:
1. Aleatory or stocshastic poetry
2. Statistical poetry
3. Technological poetry
4. Permutational, combinational and variational poetry
5. Scientistic poetry
6. Phenomenological poetry
7. Slang poetry
8. Computor poetry (the part realized by means of machine but in language)

In the second group are those poetries and methods that include some linguistic elements, operating with signs, or inlude not only the verbal but also visual and vocal elements. That part of signalist poetry we can also call semiological poetry because of its radical steps out beyond the limits treated by current literature so far, abandoning linguistic area and entering an area almost completely unexamined from a literatural standpoint, an area of sign and semiology.Kinds and methods of semiological poetry:1. Signalist visual poetry2. Sonic and cynetic poetry3. Computor poetry (the part operating with letter-sign elements)4. Signalist manifestation (gestual poetry)

11. ON THREE-DIMENSIONAL SPACE OF VISUAL POETRY
Verbal-visual phantasy of signalist poem exceeds much the limits we are used to in language. Learning to read in all directions we enter gradually new three-dimensional spaces of signalist visual poetry.

12. ON SUPER-NATIONAL METALINGUISTIC STRUCTURE OF SIGNALIST VISUAL POETRY
One of basic characteristics of signalist visual poetry is its non-national metalinguistic structure. This poetry does not know for the limits of national languages, a problem of translation does not exist for it any more, its language is universal and understandable to all poets of the world. It is opened and right because of that opening to the world , according to the well-known Italian poet Adriano Spatola, "new poetry has its first and enormous obstacle in national poetry. Various national poetries live off prejudices and are based, above all, on the opinion that translation is the only instrument of expansion to the othe side of borders and customs. New poetry, as this poet says, is entrusted with an enormous task: to destroy naionalisms, to destroy every "private" concession of culture..."

13. ON THE SPECIAL WORLD OF SIGNALIST (LINGUISTIC) POETRY
Signalist poetry realized in language, out-textual, external and object world supposes more and more its own inner linguistic world whose poetical space is determined with language itself, that becomes an exclusive object of poetry in this case, as well as with the special world created by that language.In that sense signalist poetry establishes also specific laws in the newly built space, based first of all on the modified laws of the used language.

14. ON RESEARCH IN THE NATURE OF POETRY
Entering the essence of language, and even abandoning some of its valid and most expressive functional-communicative elements in particular moments, Signalism researches the nature of poetry itself most comprehensively and essentialy so far.

1969 -1972

FRAGMENTS ON SIGNALISM (II)

CYBERNETICS
The bases of cybernetics were posed by Norbert Wiener immediately after the World War II with the works: CYBERNETICS or control and communication in the animakl and the machine and THE HUMAN USE OF HUMAN BEINGS (cybernetics and society).The very notion (term, name) cybernetics is derived by Wienner from the Greek word kybernetes = helmsman .The domain of interest of this science are not only living, but also non-living systems where mechanisms of an exchange of messages, information function. Cybernetics would be, according to generally accepted definition, a universal theory of steering and connection. There conditions of commanding machines, plants, producing and social processes are studied, and even the motion of living beings. So this theory has been posed in very wide aspects and it is enabled to cover almost all areas of human thought and action.*Cybernetics has not been created accidentally. It can be said it has rather long history and that it represents a result of overall developmentof science sinse the ancient cognition all the way to the most recent manifestations and courses in scientific thought. Cybernetics makes use of the experiences of previous reearches in order to formulate quite new views and try to solve some of the fundamental questions of science and society. The most conspicious are the experiences from the turn of the century, when mathematical theory of systems wuth a feedback as well as mathematical logic with an elaborated logic of discrete schemes. At that time Gauss' theory of probability gets an opportunity to be applied also in natural sciences and technics. An eminent role is played also by Markpff's theory of web, whereas the significance of Gibbs' idea of probability of the universe in the system of statistic mechanics will be noticed considerably later on.*There are two basic ideas and interpretations that cybernetics is based on, not only as a new exact science, but also as a specific view of the world with far-reaching effects on social sciences, philosophy and arts: an idea of a general theory of governing and relation, and an interpretation of cybernetics as a theory of organization, ie of a struggle with the cosmic chaos incarnated in the monstrous and continual growth of entropy.

GIBBS' UNIVERSE
American scientist Gibbs is especially meritorious for breaking down Newtonian solid and compact universe, where everything happens according to certain law and "where all future depends strictly on all past". Gibbs' universe id characterized by disorder. It is not liable to some strict and eternal laws valid for all existing forms. It is determinable only by statistic criteria, probability and chance. Strict determinism has lost its ground here. Foundations of physics, and thereby also of entaire world and universe are set on chance. Exact sciences have thus approached the sources of the irrational.

MESSAGE
We comprehend society, all the world and universe by means of studynig messages and means of commumications. Future of man has been already determined in a way by development of system opf messages and communication.Message is in basis of cybernetics. According to Wiener there is a broad area that emcompasses not onla study of language, but also study of messages as a means for governing machines and society with certain reflections on psychology and nervous system.A circumstance where a command (instruction, algorithm) is communicated to a machine is not different substantially from the state where a commandment has been said to a person. The one who directs commandment, if his conciousness is in question, is aware of the message he has directed and the signall returned to him. Quite irrelevant is whether the signal passed through some machine or person. It does not changes at all the relationship of the emitter and the signal. Therefore, Wiener conludes, theory of governing in technics, whether it relates to men, animals or machines, represents just one chapter of the theory of message.

ENTROPY According to the laws of thermodynamics, where principle of entropy holds, all the universe is approaching a thermal death.

*

Closed systems like universe tend to pass to a state of highest probability. From the state of organization and differentiation to a state of chaos and formlessness.

*

Statistics sheds a new light on the principle of entropy. Its laws determine general features of multitude, erasing individual destinies of constituent parts.

*

Thermodynamics is specific in its irreversibillity of physical processes, ie the fact that thermodynamic processes proceed only in one direction. A course of the process in opposite direction is made impossible ba the law of entropy.This one-wayness represents a basis of the Second law of thermodynamics.

*

As a substitution for thermodinamical one-wayness we take statistic probability.

*

The princiople of entropy is a border, a borderstone separating the past from the future.

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In an experiment known as Maxwell's demon a continual motion takes place whereby the Second law of thermodynamics is violated. Maxwell's demon has overcome here the tendention that leads to an increase in entropy.

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Relating thermodynamic entropy to biological notion of organization, Schrodinger marked entropy as a measure of desorganization and opposed to it his own notion of negative entropy (negentropy) as a measure of order and organization.

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Striking is the similarity of this Schredinger's ordinances of negative entropy with Shannon's entropy of information. By further observing of these analogies scientists have concluded that Maxwell's demon actually transforms informaton into negative entropy, into an order of system.

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Deep is negenthropic sense of the process of metabolism.

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With exchange of matters (metabolism) a living organism begins its desperate struglle against desorganization.

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Death is a state of maximal entropy of a being.

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Entropy is measure for disorder, chaos, desorganization.

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Negative entropy (negentropy) is a measure for order.

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By metabolic processes, which are, in fact, processes of life, organism absorbs negative entropy realizinga high level of order (organization) in that way. It fights at the same time against positive entropy, that struggle enabling it not to fall for a time into the state of maximal entropy.

HEURISTIC PROGRAMMING AND ARTIFICIAL INTELLIGENCE
In domain of study of automatics first of all are analogies existing between living beings and machines, processes that happen in different systems, whether they are mechanisms created my man, living organisms or human society as a whole.
*
Reactions of living beings are based on a very complex system of signalization and automatic regulation.
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Homeostasis is an ability of organism to adapt itself to environment, establishing a constant equilibrium between organism and environment. The process by which we as living beings resist the universal current of corruption and decomposition dictated by entropy.
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Homeostat - a machine that posses an ability of selforganizing, ie that itself is able to study and chose a solution depending on it.
*
Heuristic programming in modern cybernetics marks examination and attempt of creating an algorithm of functioning of brain and complex forms of psychic activities.It is a new discipline formulated in 1958 in Great Britain at a symposium for mechanization of thinking process, by scientists Minsky and McCay, who had posed the "problem of neccesity of looking for new ways for examination and modelation of creative forms of brain work".
*
In his work "On the Road of Creating Artificial Intellect" Minsky tries to answer the basic problem of heuristics: what thinking is and what the specificity of creative forms of brain functioning consists of compared with the in cybernetics known processes of processing information.
*
Scientists predict construction of machines capable of self-reproducton in a very near future. So on the basis of the fact that computor is a machine that, given an instruction and a finite sequence of numbers, can continue infinitely the development of that sequence accoeding to the added instruction, mathematician Neumann conludes, expanding the notion of universal automaton, that these will in a very near future, on the basis af appropriate program and other parts of machines, elements and aggregates, be able to produce automata similar to themselves.A British genetist has perfected the notion of reproductive machine, producing models that represent numerous analogies, but this time in the area of chemistry and biology, with living organisms.According to scientist Edvard Moor, in several decades will already be created machines with capability of propagating, being economical at the same time.

GAME
Game is, in a mathematical sense, a formalized model of complex conflict situation.
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Theory of games is a mathematical theory of conflict situations. It analyzes situations and deal with production of rules, algorithms for most favorable tactical action of player.

FEEDBACK
Feedback is considered to be a basic category of automatics. It represents a method of governing some system with using results and experiences of his previous actions.
*
Already has been noticed the coincidency of physical action of a living being (man) and some communication machines with rregard to the endevours that entropy should be controlled by feedback.
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The science dealing with analogies between biological and technical processes is bionics. It studies regulative systems in living organisms in order to apply their principles in machines.
*
Messages by which we act upon the environment we live (work) in are nothing but some kind of information we, as senders, direct to that environment. But we not only radiate, direct) information, we also recieve the. External environment acts upon our senses by means of light, sound and other signals. These stimuli are transferred into the main center wher after gathering information, their processing and selection man responds to the stimuli with certain reaction. Thus the mutual interaction between man and his external environment is realized on the basis of transfer, coordination, storing and using of information. To live efficiently, according to Wiener, means to be informed.

MACHINE AND THINKING
Very important is the fact that cybernetics is not a dogmatic science. The world it tries to explain by its own methods and principles has not been given for it once forever, but it is liable to dialectics of eternal becoming, to infinity of organized actions and reactions.That science emanates from an essentialy different process of human thinking, entailed by electronic civilization. The latter also makes a maximal use of something that already exists in the very nature of man, so that it exceeds enthropic inertion enabling him to act dinamically with attempts to create in his consciousness a picture of integrated, but not finite space, time as well as the world of facts and things.
*
Functionality of technological world is provided by products of "artificial thinking". In its global structure (but still only in socio-economical) the world functions like a machine construed according to mathematical principles to which at times, but in ever shorter intervals, more and more perfect and complicated parts are added.
*
In the area of thinking, machines will first of all have a role of an instigator of thinking and creating, ie of a reinforcer of intelligence. They can be understood also as very complicated tools for realization of certain ideas and production of new aesthetic information. Machin will influence substantially on thinking in the future.

THEORY OF INFORMATION
Under information we imply all that gives data, or informs about some fact or some event. It shows itself to us as a "basic magnitude", its quantity is measurable and can be expressed mathematically. It is mathematical models that the processes of information courses are studied by. Measure unit of information is bit, and it represents an "atom of communication". It would be the least quantity of elements in one information arrived through channels to receptor (reciever), needed to be transformable to certain perception.Norbert Wiener calls information the contents of what we exchange with external world while we adapt to it and influence it by our adaptation.
*
Theory of information originated at solving the problem of electrical communications, transmission technique, especially photography. At the beginning it was related exclusively to st
udy of transmission, procession and using signals in channel for communication, but later on its application has been expanded, by means of cybernetics, also to biological and social systems. Finally, information theory and cyberneric methods penetrate aesthetics too.
*
For information is characteristical that it is transferred by communication channel. Material bearers of information are actually signals. By means of encoding, ideas, thoughts are transformed into a system of communication signals. Decoding process is reverse and goes from signal (languge, numbers, signs, letters, gestures, sounds) toward picture and thought. On that road through the channel of communication to the reciever where it is decoded, signal can be exposed to hindrances, white sounds, distortions. Understandability of the information will also depend on the degree of distortion.
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Signal is a product of an event, object or phenomenon. Information, in fact, can not exist in other way than in a form of signal about something that has happened. Events, happanings are source of signals. They are, thereore, of a physical nature and are related to certain mass or energy. For Roland Barthes signal belongs to a group of "relates without psychical idea", it is "immediate and existential".

ENTROPY IN INFORMATION THEORY AND NEW AESTHETICS
Applied in information theory entropy denotes disorder, danger, chaos tending to destroy message, its meaning, to make ompossible information, ie establishment of relation of emmiter's world with that of receiver. It is noticed first of all in communication channel where the message is influenced by various hindrances, white sounds, actually the entropy principle that tries to destroy it.As such, entropy is opposed to information. Informaton is actually a measure of order, where the informative contents of a message is given by the degree of its organization. By a greater organization of the message according to "a special order", where it would go far, by means of "improbable systematization", from probability, uniformity and "elementary chaos", tended to even by the universe as a closed system, its informativity is also conditioned.>From this one could conclude that to a total information corresponds a zero entropy, and to increasing entropy a vanishing information. (As we will see later on the things with artistic works, when aesthetical, ie poetical information is in question).
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The notin of entropy has not remained just in thermodynamics, ie physics and mathematics, beside cybenetics and information theory. This notion has been expanded recently also to lingustics, and also poetry. Significan place it holds also i new aesthetics.
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New aesthetics uses mathematical and empirical working methods, it starts from some basic attitudes of cybernetics and information theory, orientating, mainly, to objective problems of art.
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Aesthetical perception is marked, from the standpoint of new aesthetics, whose fundamental assuption have been elaborated by Abraham Moles, as a transfer and processing of information.This process is more complicated than with other kinds of perceprion and registering phenomena in receiver's consciousness. First of all, with aesthetical perception the participation of consumer is considerably more active. Although the quantity of information after the transfer by a communication channel is always lesser at the exit than at the entrance, the received signals can cause with the receiver greater quantity than that whose bearers, actually, they are. It is, according to Mol, made poossible by previous information placed in the receiver's (consumer's) memory, activated and combined with the existing experience.

REDUNDANCE
Redundance shows itself as a measure of understandibility of information. In fact, it is that excess, abundance of probabilities by which we burden an information at the very sourcin order to enable the message to reach the receiver complete. Understandibility is here, therefore, a "quantitative notion". Maximal unpredictability (originality) of message makes it nonunderstandable. Understandibility, repetition, using always same sign, makes it equal with triviality.
*
All messages, especially artistic ones, represent a compromise between a maximal information of the unpredictable, original but non-understandable and the predictable, repetition, non-originality that is trivial and understandable. This would be, according to Abraham Moles, a fundamental dijalectics of communication.Within certain limits of a linguistic system according to Umberto Eco, "redundance is given by the entire totality of syntactic, ortographic and grammatical rules that begin to make up obligate intermedial points of a language".Goals of Signalism would be, therefore, determined in advance by breaking down those linguistic rules within their official conditionings, but at the same time also in the frame of new systems and subsystems in building a signalist poet retains certain redundancy lest he make impossible comopletely aesthetical informativity and communicativity of his work..

SPACE OF SIGNALIST ART
The space of art will become a space of game. Of intuitive and algorithm one, where the latter will be a basis for an intuitive superstructere. Moving from the spheres of emotions toward the spheres of intelligence, significance of art as of discovering will be increased.
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Basis of signalist art we see in a synthesis of intellectual-experimental function with its social-communicative function.

CREATION OF NEW FORMS
Creation of new forms is the aim of signalist art. Of concrete forms, not only of void forms. It is an art of this time (its time), its expression.Efforts are not directed just to express, but also to arrange, mould, create. If signalist art is an expression of one time, then the world is also an object of its arranging. Paradixal is, however, that in that arranging the world it is partly helped also by it subversive (destructive) function.Hegel pointed rightfully to this necessary dialectics of future, that covers what exists just in order to destroy it better, replacing it with new forms.
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New (signalist) literature pointed to the three-dimensional properties of words and language (verbal,vocal and visual). The idea about a linear sequence of words and letter structures has been shattered. Syntax could be sdestroyed at the moment when significant visual possibilities of particular linguistic elements showed themselves. Text is structured so that in its meaning, reading, all the newly discovered linguistic properties act. Its improbability has been increased, and thereby also its polisemanticity. A script of linguistic signs in a multi-dimensional field of action is being created, that can engage whole thinking and sensual (visual, tactile and sonar) system of comnsumer (reader - watcher), including him into the game of thinking and discovering.

IDEAL LANGUAGE
Search for logical perfection of languge in modern philosophy coincides, at least in its effort, with the search of some previous literatural directions for its aesthetical perfection.
*An ideal language is exausted in monosemantic naming simple things.

NON-EUCLIDIAN SPACES OF BEING AND LANGUAGE
Picture of the world will be complete if we determine its basic elements, facts and things. Facts and things are material of picture of the world.
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The bulding of the world like an idea of totality and compactness has been broken down. It is a bulding of destroyed syntax whose basic elementshave been liberated from the tightly bound foundations of one-dimensional totalities realize non-euclidian spaces of being and language.
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Being in denying. Being in language. Language of being as a picture of concrete world of facts and things. New world as a denying of language.
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Science and technology produce a new world. The purpose of Signalism is not a theory with a determined action and defined limits, it is first of all a permanent activity.

PICTURE
Differently from language (words), phonic segments that have not a perceptive similarity with the object they represent, picture as a special kind of denoting has it.
*
Although it is just a shadow of what it denotes, just one of the relations of the sonsciousness leading to object, picture is not independent and separated from the world of facts and things. Its action does not end just in relationship of a certain thing with another. It communicates with all surroundings entering so a very jagged web of semiological meanings.Play of pictures and their various, itertwinned and interdependant actions is a play of a just born world which tempts us with its multiple possibilities.

DUAL CIVILIZATON OF LANGUAGE AND PICTURE
We do not notice visual codes in visual message exclusively. Visual message is often permeated by language, not only internally, but also inside in its very visuality.
*
The fact is, yet, that we can not interpret different forms of communication just by linguistic categories. Our civilization is more and more determined by the visual as by a set of specific visual systems.It is, to be true, still a civilization of language and picture where picture takes more and more significant and dominant place. The world of language and the world of picture are not separated so strictly as it could be concluded at first on the basis o theoretical discussions. Noticeable are very broad fields of mutual intertwinning and action showing that the visual in our civilization has still not taken hold of "the totality of materially visible messages".
*
By semiology of visual communications we research the roads to semiological defining of new phenomena of meaning in particular systems developed or just being created by technological society.

COMPLEXITY OF SEMIOLOGICAL EXPERIENCE
Semiological experience is a complex one. As if there were not limits, in the world we percieve, to application of its possibilities. System of signs encircle us from the moment we open our eyes: gestures, sounds, pictures, things, bomb our senses, engaging entire our being in receiving various information and deciphering their meanings.Great are spaces where all those "systems of meanings" are placed, produced and discovered by our global civilization by means of its informative media. Information, complexes of signs and meanings, have become a nervous labyrinth of modern society, and thereby they are also liable to a comprehensive analysis by means of the methods of new scientific disciplines originated or developed in this time of explosive communication.It seems, actually, that very that width is what makes impossible to semiology a deeper and more systematic penetration into some of the basic questions of our time, and at the same time a definition of the limits of its own research.

LINGUISTIC SIGN
Linguistics enters the field of action of semiology covering a greater, more significant and perhaps the most systematized part of the general science of signs - language.Semiology is still in a search of its "genuine language" as well as its methods and possibilities. For the present it relies almost entirely on linguistics and represents, as it Barthes says, "a copy of linguistic knowledges".
*
Ferdinand de Saussure is one of the first linguists that tried to explain the nature of sign, especiall of verabal one. To him sign represents a "unity of what it denotes" with "what is denoted". The denoting and the denoted arem therefore, united making a sign. According to Barthhes, the point is an essential attitude that is to be always returned to, "for a tendention exists that sign is considered to be "denoting", while a two-sided reality is in question.
*
Penetrating deeper into the nature of linguistic sign, followers of de Saussure have discovered, beside dichotomy, also its "double articulation".According to them, we discern among lingustic signs semantic sentences each of which is loaded with sense (monems) from discinctive units that make up parts of form, but have not meaning expressionally (phonems). Monems would form the first and phonems, and phonem the second articulation of linguistic sign.

AESTHETICAL SITUATIONS
To learn looking, to replace the outdated "technique of interpretation" ba a "technique of perception", where in an immediate touch of our conasciousness and the world radiating information the factual exparieances become necessary, needed not only for the usual, normal communication, but also for a comprehension of that special kind of so-called "aesthetical information".
*
Determining an aethetical measure of artistic art, abd starting thereat from some mathematical principles noticed on probability theory, the well-known researcher of modern art Max Bense says that works of art are as bearers of aesthetical situations are complete creations that in a sense create three kinds of situations: first of all the exact physical situation of the material system the work of art is made of; secondly, the conventional semantic situation achieved in such a physical system and, finally, an undefined aesthetical situation relating to the both previous ones.
*
For an artistic work, according to this theorist, it is not necessary that it, in order to achieve aesthetical situations, gives primarily the semantic, ie meaning in its material. Aesthertical situations can (and do not have to) emanate from semantic ones, but in any case they build the material. Development of modern art points to us that it strives to rrealize aesthetical situations ommediately in a physical, material transfer system renouncing an introduction of mediatory semantic stadium, ie object and meaning.

VISUAL SYNTAGMS
Visual syntagms of particular forms of signalist visual poetry can show themselves to us, but to a lesser extent, as iconic signs.
*
According to Morris' definition an iconic sign is a sign that has certain properties of the presented object, ie which represents properties of its denotates.
*
Thedefinition by Umberto Eco is rather wider but mre precise as well. For him, iconic signs reproduce some perceptive condition of the object, but not before they are chosen on the basis of the codes of recognition and after they are recorded on the basis of graphic conventions according to which an arbitrary realized sign denotes the given sign of perception.
*
In a greater part of signalist visual poetry, however, there is not such a relationship of coincidence with things. Elements in the frame of poem, and even the poem as a whole, are determined and special material events with which we notice mpre rarely an iconic relationship with obkect.

TEXT IS BODY
In Signalism for the sake of determination and distinction of visual poetry and other visual texts (visual novel and others) from the created originated in language exclusively, we have to take account of certain distinction in the way of communication abd reception of the aesthetical information. The both texts (visual and verbal) are given to us most frequently in a same medium, book, realized with similar, or same letter (slovnim) ie sign symbols. And where then would be a difference?We will notice, first of all, that in a visual text the word printed on paper acts first of all by its materiality. That word is not an "abstract, verbal notion sign", but a concrete visual sign having its spave, its corporality. A text is a body. Realization of the communication between an artist and reader/watcher by means such a text implies not only a knowledge about a conditioned system of signs like a script is, but also an already formed visual thought ready to receive these new hybrid artistic products.
*
It would be necessary to ascertain once forever to which an extent signalist visual poetry owes to media and art disciplines such as: photography, comics, film, television, graphics and design. Likewese one should ascertain to which extent it has fulfilled the vacuum, as it has been already said, that had existed between those disciplines. Where they are in touch with visual poetry and where and how they permeate each other.

GESTURE POETRY
In the case of gestual poetry (signalist manifestation) artist would communicate with recipients by so-called natural means (information channels): voice, gestures, immediate and realized natural or contact communication. Of course, it does not exclude also another type of communication by means of technical devices and aids (technical communication).The way of communication between artist from one side and recipients (consumers) from the other is essentially different with these two types of communication. Immediativeness and orality of information, as well as certain real audience is characteristic for natural communication. That is why some theorists can speak about its distributivity.Gestual poet is at the center of events, in a focus of his work. Very frequently the audience itself becomes an inseparable and constituent part of artistic work and gestual action by its reactions, participation and orientation. Communication is determined here and therefore unique feed-back situations can take place, since the consumers themselves (being now participants too) can influence further creative development of the work. Yet, basic source of aesthetical information still remains the poet himself, the performer of the action.

GUTENBERGIAN GALAXY
With Gutenberg's Bible (1455), the first work published in the just invented technique of printing, a beginning of so-called "Gutenbergian galaxy" was announced, where culture of print and book dominates. According to many theorists, this was one of revolutionary leaps of mankind that later on, through book as the most accesible and mass culture medium, has led to "immediate exchange of experiences, ideas and knowledges" and to an universal cultural and social growth.*Book has become one of the basic comunication channels, medium of individuals, groups, entire nations. Thereby the past is illuminated, history is concretized whose facts become accesible to the widest classes of people, present time is marked and future movements are tried to be viewed. Its influence on society and human psychology is enormous. Book is such a medium that it promotes psychology of individualism, removes oral communication. (McLuhan). One works with it, and communictes trhrough it, in silence, without direct dialogical struggle, in the warm uterus of room or fights in an improvized arena of that very room, that limited and closed world, with an invisible opponent.
*
Print and book experienced their real explosion and expansion in last century with an abrupt development of industrial civilization. Technological civilization we have entered has produced new mass media: film, electronic machimes, television, videotape. In these media printed letter, word, language do not dominate, but picture in cooperation with the oral and other ways of communication.

SIGNALIST GALAXY
According to McLuhan speech as a communication medium has widened the sense of hearing, script and book extended the sense of sight, and electronic media represent extension of all human senses, entire central nervous system.It has been already showed that the appearance of book has influenced human psychology in the sense of reinforced individualization. Man secludes with printed word, avoids action, meditates, communicates indirectly. One sense becomes dominant - the sense of sight.New media of our civilization establish a balance of all senses. A indirect communucation is excluded. Man is again at the center of action, of events. All his senses are bombarded equally by information. Experience is direct and active one.
*
Does the end of an epoch and of the rule of one sense mean also an end of all those established, by that rule promoted and produced "thinking models", behaviour, creation? What are ways of creation in the new electronic civilization that deepens and expands our experiences even more through a simultaneous and equal activity of all senses? That deepening leads us to the very subconsciousness, liberated and threatening. It draws us out from the choking three-dimensional spaces of script and eye, narrative comsciousness, homogenous fortresses of the abslolute, metaphysics and myth and throws us into an avelanche of rebelled senses, into relativized, non-dogmatic and multidimensional spaces of planetary and signalist art.
*
Signalism tries to mobilize for creativity all senses moved and activated by the media of our epoch. It establishes their continuous interaction in creation of aesthetical information. The doors of subconsciousness are not just opened slightly, they are wide opened. Signalism has abolished, by liberating and engaging all senses and creative forces in man, all limits, all boundaries, and even space and time, directing its own researching being to the unpredictable planetary and cosmic.

1969 – 1975.

COURSES OF SIGNALISM

The beginnings of Signalism1 are connected with the year 1959 and with the attempts to introduce into our poetry, where up to that time the principles of Neoromantism and late Syimbolism reigned, some new tones adequate to electronic and technological civilisation.

Those beginnings were connected with the language and the attempts to revolutionise the poetry by introducing some fresh, still literary unworn language amalgams of the exact sciences: physics, biology, chemistry, astrophysics and mathematics. Therefore the original name of these movements was - Scientism.

Already in the next year the scientistic poetry steps out from the language and gives the first visual fruits inspired by Apollinair's calligrams. In the years 1962 and 1963 it insists ever more on the exact. Science is defined as a means of poetry and it is pointed to "how artificial and absurd was separating poetry from science". Einstein's theory of relativity is proclaimed to be the greatest poem of our age, sung to the glory of man, and the basic mathematical formula of that theory E=mc2 is marked as a supreme metaphor. Structural analogies between poetry and the above mentioned branches of exact sciences are being found, thereat a sign of equity is being put between the words of a poem and electrons in a physical sense, and a protoplasm in biological and planets in an astrophysical sense. A poem is equalled to an atom, cell and Solar system. To the rhythm of a song correspond the forces which hold the electrons, they being life and gravitation. Mathematical and other formulas are being introduced into poetry and a geometrical-algebraic analysis of the poetry, life and death as of basic and given magnitudes is done. A poem, thus, becomes a magic formula of life and Universe and its meanings at this moment exceed far the narrow literary frames. It wants to return finally the lost unity with science, the unity of singing and thinking of antiquity and of the great poems of Empedocles, Hesiod and Lucretius. It strives for a comprehensive picture of the world in whose basis it will be itself as an analogue to an atom, life and Universe.

That original course of Signalism (under the name Scientism) lasts lonely and in an ocean of revived Symbolism and Traditionalism of those years, almost unnoticedly in our literature. The years 1968 and 1969 are crucial for Signalism. MANIFESTO OF POETICAL SCIENCE was published ("Polja" no 117-118, 1968) which summarises in itself all experiences of the previous period. In the same year the text MANIFEST OF SIGNALISM (REGULAE POESIS) was written, and in the next one it was published, giving a basis for forming a militant avant-garde movement aiming to reach and revolutionise all branches of art (especially literature and fine arts), having opened new processes in culture by radical experiments in a permanent creative revolution influenced especially by the new technological civilisation. Those premises were elaborated even more in detail and made more precise in the third manifesto SIGNALISM ("Delo", no. 3, 1970), where a first broader definition of Signalism, as well as a detailed classification of new poetical forms are given.

Signalism widens its basis which thus far relied only upon several already mentioned branches of exact sciences and includes: cybernetics, theory of information, phenomenology, theory of games, structural linguistic etc. While in the first phases evident is an endeavour to introduce particular parts of scientific languages into poetry, the second is characterised by breaking, by means of certain mathematical models taken from statistics, theory of games, combinatorics and cybernetic methods (machines), the clichés of the colloquial and current poetical languages and by opening new, still unforeseeable possibilities of experimenting in the verbal, visual and phonic. Language becomes in a true sense of the word a material used by a poet who sometimes in a programmed poetical fervour uses it to produce his works. This phases is also characterised by an abrupt development of visual poetry, which thus far existed only rudimentary in the movement.

In those years Signalism goes out finally from anonymity imposed on it by our literary situation. Cultural public began to get interested in the movement. Signalist groups were being formed, and there were ever more young people: poets, painters, designers, art historians who created applying Signalist ideas in revolutionising the art.Signalists got linked with the avant-garde artists from all over the world and participated in numerous exhibitions of visual and concrete poetry. They published in magazines, and were represented in international anthologies.

In the year 1970 an international review SIGNAL was started as a newspaper of the movement. The journal already in the first issue published a choice of foreign concrete and visual poets and Yugoslavian signalists. The program of the journal was based on an active struggle for an affirmation of new ideas in literature and art. The appearance of SIGNAL was greeted in the world as a doubtless contribution to avant-garde movements2.

The first Signalist anthology appeared in 1971. in edition of Hungarian magazine "Uj Symposion" of Novi Sad in Hungarian and Serbian languages, and presents works, visual poems, by twenty authors.

Already in this anthology visible are efforts, and also achieved results, in one of the branches of Signalism, in Signalist visual poetry. The most of the authors found themselves in a new art and literary discipline and operated very self-confidently with its material elements, letter, graphic sign and space, as with one of constituent parts.Visual poetry destroys language and traditionalist understanding of literature and art. It goes, it could be said, from a meaning to a sign, destroying the semantic fortresses of script and Gutenbergian civilisation. The linear syntactic and grammatical chains of texts are shattered, "textual surfaces" are being created, where their multidimensionality is expressed. Thus sign has been discovered as a basic model not only of new poetry, but also of the entire civilisation it can account with. Semiotics has replaced semantics. Semiotic analysis has became a key for solving specific poetical messages.

Presenting that choice of our poets, Chilean avant-garde poet Guillermo Deisler says: "An absolute distance is, in main features, assessed in relation to the possible problems of our society, as are war, sex, terrible contradictions between the developed and undeveloped, between mass consumption and manipulations with masses. Almost with the most of the artists there is a deep striving for getting out from the system of a linear, exclusively literary communication, for a realisation of advantages of a more open communication. That preoccupation is more evident in a system of signs as of media for destruction of idioms where the established is being ascertained. A great usage of letter as of a visual element, not of an audible one is present (Andric, Jevtic, Djordjevic, Paripovic, Jankovic, Jovanovic, Stojiljkovic, Matkovic), nor of a literary one, although we meet it also offering sounds, as if in concrete poetry (Todorovic, Roshulj). Calligram poems (Reshin, Todorovic), poems in a process (Magyar, Vukanovic, Matkovic, Todorovic, Poznanovic) always move, more than anything else and in a very intelligent, intellectual line, an alternative of poetical language... "That alternative of Yugoslav poets", this author concludes, "would show itself to be, definitely, an intelligent chance of escape from the linear manipulations of writing and a chance of securing different possibilities, in a best case as a defender of reading for today's and future readers."During the following years Signalism developed and achieved a respectful affirmation, but exclusively on an international level3. Domestic cultural public is still sceptical, and in part resists strongly and attack severely all marked as a Symbolism.

In the movement itself, a kind of differentiation takes place. Some artists are more and more approaching land art and conceptual art. That differentiation, however, is, more or less, of a formal nature, for those artists too in fact just elaborate in their further engagement some of the basic premises of Signalism. For some of them (Zoran Popovic, Marina Abramovic) is characteristic that not before this phases they insist on technological and exact moments in their actions, that having not been the case in their original poetical-visual phases.

One of very interesting works in the frames of Signalism was realised by Vlada Stojiljkovic. Using the elements of collage, design, graphic and drawing ingeniously, he, freed from taboos and conventions, creates a quite new and exciting sign script. In his text Signalism as an Avant-garde Movement (1971) Stojiljkovic emphasises that a Signalist "does not write about certain theme but presents it, or shows its essence by means of different arrangements of letters and symbols. A purpose of such a work is first of all that the author break the frames imposed on him by poetical, semantic, syntactic and even grammatical rules, and use a non-verbal material to be able to express himself totally.

The syntax of Stojiljkovic's script, especially in the visual poems: Horoscope; A Sketch for a Mechanical Bird; Transplantation I, II and in the anthology work Upper case/Lower case has been raised to a metalinguistic level. Its elements are in a semiological field. His basic communication channels and bearers of aesthetic messages are sign and image with a readible and concrete result.

For the poetry of Zharko Roshulj a visual understanding is also very important, since in certain moments in a poem the fragile connection with the verbal is completely broken and an absolute domination of the sign is established. Its visual syntax, by which the poet determines the courses of his thoughts and associations in the space - that determining becoming also a part of an all-including and unrestrained typosignalist plays with signs, letters, parts of words and words - requires a synthetical-ideographic understanding instead of the analytical-discursive one.

In his first signalist poems Zharko Roshulj was very close to some realisations of the baroque and manirist European and Serbian poetry of XVIII and XIX century (carmina figurata, the poems in the form of things and animals, especially: peacock, horse, bird and others). Here this poet found inspirative roots obviously in graphic experiments of one, in our literature still neglected and insufficiently examined current of Serbian baroque poets: Orfelin, Trojichanin and Venclovic.
In the next phases Roshulj ever more accepts modern researching experiences, those of Brasilian school of concrete poetry as well as, to a most extent, those specific experiences and features of signalist poetry that enabled Signalism that, as a special creative movement, which developed in Yugoslavia in somewhat different theoretical premises, takes a high and significant place in the world's avant-garde movements.The appearance of the "White Book by Milivoje Pavlovic, a young poet, signalist researcher and publicist, rose a doubtless attention of our cultural public. Published in just 50 copies, as a signalist edition, with the volume of 300 pages of the finest print paper, in which not a word was printed (except brief prefaces and conclusions, that book provoked different and often very emotional reactions of those who had a chance to see and "read" it.

Imagined in the beginning as a provocative gest and an effort to indicate the critical condition of book and literary critics in our country, this book-sign, a play of white rectangulars of an open world, exceeded son its original and culturological intents and frames. By it, to use Macluanian vocabulary, the doors to abolition of linearity and consecutivity of human consciousness and of finding a non-linear logic has been opened even more, as freely as non-Euclidian geometry had been built. "For consciousness is not a verbal process, and the phonetical literacy in the previous development of human culture was giving an exclusive advantage to "a chain of inferring as to a mark of logic and reason."

Attributing to the invisible and mute sounds the dark crevice between being and language, "White Book" by Milivoje Pavlovic records at the same time its disbelief in communicativeness of the closed language systems of the Gutenbergian galaxy at its close. It is a book-frontierstone there, on the border of two civilisations, that of script and that of image. Instead of the removed language there is a language of the very being of book, an explosion of whiteness, of the space not burdened with script, a script of the immediate and visible, of the nonabstract world of facts and things.The challenge is in its mute readability. The irony is in an interpretation of a rewritten world. For it is at the same time a book-world that multiplies its ironical entity in thousands opened eyes.

Where do the metaphysic horror and reality of the historical and mythical cease? Where do the irony and play of the ludic man of the technological era begin?

The "White Book" vanishes as a product composed of paper and of lead impressions, and returns to us as a complete art form, a work whose only outside, surface veil is woven from silence. Its experience is an experience of a vanishing script. Its pages ere unrepeatible like still unwritten pages of Universe. There, where is not a trace of script and writing, where we are being defeated but an apparently innocent cleanness of the intact paper, an exciting juncture of signs and meanings is being born on the screen of a new universe.

The researches by Bogdanka Poznanovic move in a wide spectre, from those, for me, poetical-visual in her booklet "Stellata", up to the land art and conceptual interventions ("Feedback Mailbox", "Breath-breathing" and others). In the action "Cubes-Rivers" signs and words are still visible and still have an important role. In the basis of the "Feedback Mailbox" project is a communication, actually an informing (the mode is left to the choice of participants) about one perhaps not crucial, but also mot so unimportant part (means) of an informative system). Very important is also the work "Computortapebody" where, using a computer tape, diaprojector as a special medium and the bodies of the participants in the action with visible scenic effects an unique informative-sensible and gestual-poetical total has been realised.

Zoran Popovic began his researching work on the Signalist plane with typewriter poems in 1969. During 1971 in Zagreb he, working on one short film, draws out a series of suggestive literal-visual structures with a project of so-called "Signalist Clock". In the following years, the work of that author, especially in the "Axioms" project, penetrates into the realms of the spatial, corporal (Body art) and conceptual.

Marina Abramovic likewise begins with Signalist visual poetry (Smoke and A from 1970), and with a series of projected letters Entering a Square, Going out from a Square, B Projection and others). Especially important are her Sound Ambients where she tries to realise a synthesis of the spatial-visual and sonoric, and recently also of the action of gestual poetry.

In the work of Nesha Paripovic there were not spectacular slew’s and breaks as with previous artists. From the very beginnings he investigates, calmly and thoroughly, the sign and functions of the sign in its most diverse forms.

The first researches of Slavko Matkovic are in the domain of visual poetry. Later on, his interests have been widening substantially. Significant is also Matkovic's work on signalist comics, they being also especially explained theoretically by him.The literary critic Ostoja Kisic has been following the signalist movement already for years. In recent years he announces his voluminous study on Signalism under the title GREAT DISCUSSION. In that book (in several hundreds of pages) especially the beginnings of Signalism are studied, as well as the relationships of this our avant-garde movement with Traditionalism which had seized the Serbian culture in the beginning of the sixties. Especially interesting are Kisic's visual works under the title "Themes from History of Literature" where he presents in a humorist way particular problems, themes and myths from our more recent and remote literary history.

Ljubisha Jocic, a poet of older generation (formerly a follower of the nadrealistic movement), joins Signalism in 1975 with this book MOONLIGHT IN TETRA-PACK, where some of the premises of the Signalist technological poetry were almost completely realised. Critic Aleksandar Petrov, presenting that book, says that "Ljubisha Jocic Writes in a language of tetra-pack". And that is "a language of the modern consumer society and of media of mass communications", in a word a technological language.

Discussing Signalism in his text "The Signs Bound to the Reality Itself" ("Politika", 7 August 1975) Jocic starts from the fact that "Signalism, as well many other "isms" already confirmed by history, has a significant place in the development of human creation, theory and practice".

In his opinion this our avant-garde movement was born "In the fires of electronics and thundery powers of atom, in a double nature of electron (material and spiritual one), in the curved spaces of the four-dimensional world. Signalism explores a way for moving the human brain, whose capability is being used just ten per cent, to use those its uninvestigated areas, those other ninety per cent for the movements in those new areas foreshadowed by the technological society."

Interesting is also the case of Spasoje Vlajic, who started in Signalism as early as 1969 with a still insufficiently ripe and unwhetted scientific poetry, undertaking thereafter, as he says himself, inspired by the discoveries from the primordial phases of Signalism, especially those in the book "PLANET", a studious investigation of language from exact standpoints.

Examining the intensity of voice meaning in our language, and in some others too, Vlaic learned "that the relationship of a language and a phenomenon described by it is based on a mutual imbuing of the energy whereby that phenomenon acts on senses and places of the phenomenon in a mental and physical picture of the world". In fact, Vlaic succeeded to come to some laws, correlative equations, on the basis of which one can determine frequency i.e. energy of a colour (e.g. red) on the basis of the very name of the colour. Thus, according to him, one of the basic premises of the second Signalism manifest REGULAE POESIS: 1.8.1 also has been proved: "Signalist poetry will mark a complete liberation of the language energy". For "the energy of a designation is partly in a functional dependence on the energy of the state described by it. The cited facts point to real possibilities of a more complete liberation of the language energy."Dobrivoje Jevtic, Milorad Grujic, Rade Obrenovic, Boda Markovic, Zvonimir Kostic Palanski, Miroljub Kesheljevic, Jaroslav Supek and Branislav Prelevic work intensively on Signalist visual poetry. Young poets Slavko M. Pavicevic and Miodrag Shuvakovic explore the language as well as other opened and scattered areas of Signalist art.Slobodan Pavicevic ("Silicates of Flower" 1973) and Slobodan Vukanovic ("Star Leathers" 1975) are opened with their books to planetary and cosmic experiences of Signalism. Especially Slobodan Pavicevic heads in this, who in his poems - junctions of the exact language of physics, chemistry, mathematics and an archaic colloquial idiom - establishes, builds and examines fantastic, non-earthly worlds. That is a poetry of a new era of explorers and conquerors of the universe, where, beside fancy and scattered imagination, the most recent scientific and technological cognitions and discoveries of sciences are used.

Predrag Shidjanin, Lásló Szalma and Nikola Stojanovic are interested in conceptual searches.

The results of Signalism and Signalist ideas, as we could see from this brief chronological survey, are most visible in fine arts and literature.Art and artistic act are demystified. The art has been marked as ludism, a play of man in cosmos under a permanent threat of an entropy avalanche, chaos and formlessness. Metaphysically, a theological order has been disintegrated, new multidimensional spaces have been established: freedoms, plays, researches. Art is a play and imagining, a human power to exceeds his own alienation and start on a way of "total expansion" into cosmos, into the world.

A reality of the technological civilisation and a special role of man in the electronical-planetary space of existence has been accepted. Technology has offered new means to arts; to man, to an artist, it has offered new possibilities of conquering, of an intuitive superstructure over the things, the objects of his own production. Machines are, for Signalism, means whereby man liberates his fancy, his imagination even more. Processes of communication will be more and more intensive, the number of information, storehouses of knowledge, arts, greater and greater for advancing that achieved freedom, play, uncertainty of research. Information will flow without a mediator. They will not be lost in the channels of processors and in noises of resistors. They will be full and sudden in their radiation. Signalist art will become universal, with a complex, determinable but not a closed script. It will point to an "essential thinking" as to a necessity in a cosmos of fight and conquering. Conquering a sense, a beauty of an organised disorder. There where the tension at any point of a body, text and work is huge and threatens always to explode and throw all again to the deadness of dehumanised entropy. It will be a play with things, universe, one's own death.

In Signalism the most of former (traditional) ways of expression is being abolished; changed are languages, systems, communication means according to the newly-marked functions of art. The art is being desubjectivized. In parallel with taking off the mythical and mistificatory aureole its massmediality and spendability is emphasised. But it does not mean also its banalization, its sinking in the daily, its end. Its present offering of "numberless possibilities of realisations", its not being unique and sublime, sacralized, "its not giving final answers any more", its experimentation, correcting, a continual searching for the new, its offering a mosaic, discontinued and not total structure and picture of the universe and the world, does not mean that it is not an art any more, that it is an anti-art. On the contrary, refusing to move in the circle: "Absolute - Transcendental - Myth; refusing to be "consecrated", the art of Signalism takes off a mask from the face of the mummied traditional art and destroys its "holy" impotence by a creative subversion and building action. In that way the Signalist art becomes much closer to the life. It is a part of that life, of reality, one of its forms, much more condensed, with clearly outlined contours, more organised but also more agonising, reflecting and critical than other forms; charged with a multitude of information, it is substantially more non-genotropic than the reality itself.

As far as experimentation is concerned, in Signalism one has gone furthest in poetry. There the results are also very diverse.

The first scientistic phases, as we could see, has conditioned a synthesis of exact languages with the language of poetry. Science is defined as a language of the core and structure of matter and universe; the former poetry as a language of the relationship between a man and an outer wrapping, shell of the universe. The new scientistic poetry would represent a language of man, core, structure of the universe, matter and their mutual imbuing. The language of that poetry is an amalgam substance where we can already see the contours of a different structure of the world. That is a world of the planetary and cosmic, of the wonderful laws of a restored life, of inexhaustible energies on the dying stars.

Matter, energy, play are basic elements of this poetics and of the worlds just established by it. Covetous games of celestial bodies in which a beginning of any birth is. Love plays of planets attracted by universal (cosmic) law of love, gravitation. They can not resist that call, the spasm reinforcing in them a thirst for conquering some new spaces. Their language is a language of energy that is just to lead up to the disastrous, destructive, in order that a liberation of powerful building methaenergies take place in that newly originated chaos.

The destructive, chaos, wandering. The language is all now, for a word has four dimensions in the Signalist universe. Even life can originate from it, just as it originates from proteins. The amalgamated, synthesised language of poetry and science is a basic food for that universe. But not a fetish either. It must not be sacralized, it is itself liable to destruction, subversion, an apparent chaos of its enthropical being. The love energy in words, voices, monems and phonemes of that poetry became an explosive one, and it, "disarming the logic" disintegrated into lonely, suspending, wandering words, signs, graphics, lines that curve the space. In that disintegration, destruction of the just born stellar language, one should look also for real rudiments of Signalist visual poetry, that having been by no means introduced from outside, but originated in the very tissue (body) of Signalism.

Destruction of language and reducing of poetry to a sign itself will become a basic feature of Signalist visual poetry. That disintegration of language, the reducing of its semantic values, can be followed from the first attempts in scientistic period, all the time to the great visual cycles in the second period, when visual poetry comes to the fore of Signalist experimentation.

Firstly a connection and meaning between words and syntagmic parts of sentence and verse is being broken. The words isolate themselves, they search for a sense in space, the latter becoming an inseparable and readable part of text now. The verbal and visual are interweaving in unexpected plays of blanks and lingual meanings. A liberated lingual energy inundates a poem. To the fore are put material properties of language. One insists on turnovers, varying, amassing of particular elements. Words are separated freely from broken wholes, often becoming just signs arranged in space, and not real bearer of contents. They are objects of a intuitive and ludic process advanced sometimes by a previous use of mathematical models and methods of creation. Individual words disintegrate into their final, atomised structures of letters and interweave by thin invisible treads with all surrounding elements filling the space of a visual poem: with signs, remaining words, exact symbols, collages. Text flows divergently, in all directions, it is scattered, linearity and one-wayness of script is destroyed. We note its polyvalency and multidimensionality. Syntax is abolished. Semantics is muffled, it takes on different forms, or is abolished too. However, communicative functions of this poetry get new sources. Translinguistic and metalinguistic systems of relationships are established. Text can be still followed (read) in some poems, but with breaks and stops. The tissue of the text is examined freely. Its broadness is emphasised. Reading is related immediately with observing, separating and crossing of particular constellations into visual and verbal totalities. They provoke, further on, whole a net of associations. Visible are new dimensions of the meaning acquired by the language liberated in space. It is where the self-creative energy, insisted on in Signalism several times, achieves a full expression. Words in texts are much more independent now, and therefore more replaceable. They are not petrified in sintagms or verses and sentential sequences any more. Freedom, space and observer's (reader's) invention make possible a continuous, kaleidoscopic play of constituting, transforming and disintegration of meaning.

Beside visual poetry, as a significant novelty whereby Signalism enri ched our literature, a computer poetry also appears.

Researches in art by means of computer are of a relatively recent date. They began about the middle and at the end of fifties, firstly in music and somewhat later in painting too. The results achieved in painting are rather well known. However, in literature one did not researched much in this way, and a few texts made by computer did not penetrate the public so aloud as machine experiments in other art branches did.

Machines, as creative instruments inspiring, among other things, an artist for work, and often realising an artist's idea too, were introduced by Signalism during 1969, producing computer texts by means of certain programs. In those first programs, and also in all later realisations of Signalist computer poetry, a generator of random numbers is used, said by particular scientists and theorists to be very similar to human intuition.
All such researches were done in language and by means of language. Certain number of words, groups of words, syntagms, was programmed and left to machine for realisation. Most often the words and syntagms were not chosen randomly, which can be, after all, seen also from the achieved and published results. In the working process of the machine that aleatory elements were expressed.

The obtained results could be presented without interventions, with greater or lesser interventions or, that being the case most frequently, they served as an inspiring matter for poetical work.

That work proceeded in two directions. Firstly: the computer material was undergone to a further processing by means of spatial tables of random numbers or, otherwise, of sequences of numbers being connected according to a mathematical scheme initiated by chance, but made with certain regular interventions. Mathematical combinatorics was of help in such cases.

In another case, different from the previous one where the freedom of poetical creation was limited, to an extent, by schematised mathematical tables and sequences of numbers, and where groups of words were being joined into totalities (lines, verses) according to all phenomena of mathematical chance - with subsequent understandable and necessary interventions - computer material served quite freely for perhaps more complicated, "mathematical" plays of poetical consciousness and imagination. A fact is, yet, that those consciousness and imagination were conditioned not only by the computer lingual material (products of machine) but also by all those "methods" of machine creation, by all that disrespecting a language, linguistic norms, common human and current poetical logic, shown by machine in its work, and which became gradually, during the work, to a greater or lesser degree, a constituent part of poet's efforts in liberating and restoration of language.

Visual and computer poetry are not only poetical forms Signalism manifested through, although thanks right to them it perhaps reached the consciousness of a certain number of readers and followers of our modern literature. Those are the most prominent, visible and, as it were, loudest forms of Signalism. Because of their novelty they acted in a shocking manner, and by that itself they attracted a greatest attention of public and critics. But Signalism as a whole can not be related exclusively to visual and computer poetry, and it is especially impossible to identify it just with visual poetry, that having become common with some critics.

Signalism is a complex and scattered creative movement where whole a fan of researching methods and steps manifested and several new literatural and artistic disciplines have formed. One of them is permutational poetry. It is, in a way, similar to the computer one, although in the work on permutational poems computers are not used, but one operates according to certain mathematical model with just a couple of words and syntagms. Lingual elements can be varied until a complete exhaustion of the numerical combinations of the model. If we take four elements, that possibility is exhausted with sixteen variants each of them containing four verses. It means that out of four words we can, by their permutation, changing their positions and relationships, make sixty four verses. It is clear that in a permutational poem the words lose many of their functions and properties they otherwise have in a standard speech and current version. It seems to us that by varying it is possible to exhaust almost all nuances of meanings of some words and of notions they can take on in different contexts and bracing with other words and notions. Of course, that proceeds in the frames of a given (little) number of words and a determined mathematical model whose number of variation is not unlimited. By such step the language is being denuded completely, one by one of its shells of meaning, or sense, are stripped off, all possibilities are examined in order to achieve finally the very core of a language.

A poet need not adhere to an exclusively mathematical model. The number of variations can be lessened or increased. Often by lessening of variations one increases an aesthetic efficaceousness of the originated verses, for too great repetitions can cover completely a high informative value of individual lingual bracings. Sometimes just an opposite happens, that an amassment and rather long combinations of that small number of lingual elements not before the end of the permutational chain leads to a sudden liberation of the all thus far carefully kept lingual energy.

In phenomenological poetry something is expressed mostly which was insisted on by Signalism, at least in its main course, by its very beginnings - a desubjectivisation of a poem and of a poetical picture. The language in phenomenological poems is metaphoric one, any subjectivity is neglected, one tends to a description of phenomena, beings, things, without any burdening with the universal and transcendental.In audible poetry a voice substance of particular words is stressed, with an attempt to express by it the meaning of all a poem. That meaning is formed on a phonic level, but at the same time it is in an immediate connection with its morphological mark. Voice units are separated and multiplied:

I loveeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee

eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee

eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeee

and they begin to function as a transferring sense mechanism of one, by voice grouping formed, source of associations, not only of audible , bur also of verbal and visual ones. Voice becomes there a bearer of meaning, of sense. Its acoustic, intonational, visual properties, emphasis, place in words, possibility of collaboration with and influence on other parts of a poem (word), are used for creation of quite new poetical forms.With slang poetry Signalism shows a deeper interest in eccentric variants of our speech. From that inseparable are also a humorist and protest note observable before too, especially in computer and stochastic poems.

Gestual poetry is marked as a most radical discipline of Signalist poetry. There a poet writes by its body through a gest and action. Body becomes a "means of expressing", a language of total being. Together with surrounding elements it creates a space of a poem. Body is "our general means for possessing the world" (M.Merleaux-Ponty). All sets forth starts and returns to it.

A gestual poem is created, most commonly, by combining of different elements. It is a dynamic action of body, speech, sound, visual, kinetic and other means of semiotic expression. Sometimes even the audience itself influences the course of a gestual poem by its immediate participation. Thus a tighter symbiosis between the performer of the action and its consumers is realised.

Object-poems have also abandoned a printed page of a book. By the usage of "things as signs" we are directed toward a non-lingual (in a narrower sense) communication and experiencing of poetical message and contents. Words are objects of poems, as well as, after all, in cynetic and, partly, in visual and gestual poetry, are not elements whereby one communicates any more. Basic bearers of ideas and messages are now objects, things most often taken over from a technological fund of used and discarded items. Emptied great boxes of washing powder, rings of perforated computer tapes, plastic bags with impressed advertising texts, drug bottles, boxes of used creams, baby powder and lotions, fragranted shampoo bottles, packs of computer cards, various package, plastic glasses and dishes for yoghurt, milk, meat, fruits etc. become here a material for a poet. He intervenes in them, processes them, changes their objectness, establishes an interactive core, although most frequently not abolishing semiotic manifestation of the item from the previous advertising and consumer discourse.

Object of a song are material facts that stimulate, irritate, inspire us with their visual, tactile, spatial and temporal and sometimes also their use values. Their function, however, is not a symbolic but a syntagmatic one.

In recent years a new work began, on a creation of Signalist child poetry. (Stoiljkovic, Palanski, Roshulj, Obrenovic). Further experimental and researching effort of Signalists is more and more directed toward a revolutionising of two significant branches of literature. Those are the attempts to create new assayistic and prosaic forms. Less liable to radical interventions than poetry, these two disciplines resist Signalism strongly, and thus the results are less visible so far. Yet, some results appeared, especially by a penetration of the visual into traditional scopes of novel and assay and by its successful connection with the verbal.

From the previous discussion we could notice that Signalism is an utmostly open and very complex art system. Its living tissue is made of a sequence of events, actions, works, in a synthesis of programmed and intuitive ludism. The sources of informative energy arrive to this system in the most various forms, transforming themselves, through a producing ludic process, into an aesthetic energy (information).

Signalist art sees its basic function in an "introducing of the new into the word", in creating the forms and revealing the contents that will change human consciousness. "Success of an idea", as Jacques Moneau says it, "will depend first of all on its power to invade, that being doubtlessly related to its own structure, to its ability to master other ideas or to assimilate them, but is without an immediate relation with the selective value the idea has for a man or a group accepting it".

Crucial tasks of Signalism we see in overcoming the boundaries of the real, in moving the existing borders and searching for new languages of art.

Although confronted to all tradition and traditionalism, Signalism has never been on positions of anti-art, and still lesser on the positions of an anarchist, non-building negation of art. The motto of Signalism was always a permanent revolutionising of the art being, for, as it has been already said several times: Art without an experiment is dead", and without radical restorations its spirit becomes barren.

Our civilisation has offered to artists new means of communication and expression as well as vast spaces where one can experiment with those means. Accepting those new means and entering new spaces, Signalism tends to express itself, first of all, as a planetary art. It bases its aesthetic attitudes on some results of exact sciences, information theory and sign (signal) as an important mark of the planetary epoch. Accordingly this our movement is turned to the future where it see an ever bigger increase of non-genothropicity, informativness and a creation of massmedial forms of synthetic and hybrid art and sensibility adapted to a different more scattered consciousness and sensibility. The communication chains in such conditions of the system, regulating themselves under the pressures of total informativeness can not be broken nor closed. In the mechanism of communication there is a return-bracing that makes impossible a creative passivity. The consciousness and all the being of an artist is permanently irritated by the flows of inspirative information. The circle of "a being in a play" is opened. A man, an artist, is in an immediate contact with all the universe. That universe of information is now in a function of creation, of a continuous research.

At this moment the information theory appears as an important factor for a further viewing of Signalist art. In a broadest sense, that theory analyses processes of emitting and receiving information, as well as the reactions following its courses. The information itself has become a physical value and taken over an universal mark similar to the notions of mass, energy and matter.

A measure unit of information is a bit. It is a "communication atom", i.e. a least quantity of elements in one information that is to come to a receptor (receiver) in order to be transformed into a perception. The principle of the information transfer is the same with living beings and machines. Right that analogy has made possible and opened some of new spaces for action of Signalism. That reflected and gave results especially through a combination (symbiosis) of intuitive and programmed ludism.

An information is an universal phenomenon. Beginning from genetics, whose basic postulates "are based on the process of a information transmission", through elementary and highest life forms, all living beings can, as "phenomena of self-organising and self-regulation", be observed through the complex notion of information.

French theorist Abraham Moles has been one of the first who applies the mechanisms of information theory also in aesthetics. Seen from such a standpoint an artistic work radiates certain information. That is a special kind of aesthetic information. The originality of an aesthetic information depends on its unpredictability and grows with unlikelihood. The more predictable an information is, the more trivial is it . A complete "originality" of an artistic work, however, would make completely impossible "understanding of its aesthetic information".

Sign is the next element the Signalist art is based on. According to Max Bense, a theory of signs has been already elaborated as a basis for a new aesthetics. That theory starts from a general semiotics, and its conclusion is that "realisation, communication and codification" constitute a triple function "of something that is expressed as a sign. The sign itself is "in a function of communicativeness, and as such it is founded in every human activity, especially in arts.

Famous Russian theorist L.S.Vigotsky starts from an idea that a sign is a cause provoking a psychological development, a basis ensuring a thinking process. All mechanisms of learning, action, interaction, would function through a sign. What makes distinction between a man and an animal would be actually an ability of producing and using the signs, called by Vigotsky signification, and defined by him as a creation and use of signs i.e. artificial signals.

Thus sign appears to us now as a crucial tool of a man and an artist against the destructive forces of entropy. The world and the universe are shined by the sign as an act of manifesting of an unique researching being and of giving a sense to it. The experience of a sign is an experience of that being itself, liberated from gods, existential uncertainty in front of the threatening silence of nothingness. By a sign we are opening the locked cells of consciousness, sub-consciousness, we are searching for our own ontic mysteries, the hidden potential energies of the spirit. It is one of the main instruments of Signalism for conquering new languages, regions and forms of art in overreachable and still unfoerseeable spatial and temporal relations of the planetary and cosmic.

1974-76.

Notes:

1) I came to the designation "Signalism" in 1968 working on the second manifesto: MANIFESTO OF SIGNALISM (REGULAE POESIS). I derived it from Latin word signum - znak. Previous designations scientism i poetry - science (the second having been used in the first manifesto) seemed to me too narrow and inadequate for marking a complex set of ideas, crystallised out in about ten last years first of all in my own work and creative experience, those ideas being ready for a global revolutionising of arts, especially literature. Of course, this derivative, already in the moment of its origin, broke through and far exceeded the boundaries and frames imposed to it by its etymological determination.

2) Here we will cite just some shorter excerpts from those reviews."SIGNAL" is a Yugoslavian journal published in Belgrade. Its purpose is to adapt poetical experience to technical possibilities of our time, to cybernetics and computer technics.""El popular", 11 April 1979, Montevideo
"An excellent newly established review devoted to visual, concrete, cybernetic and signalist poetry. This issue contains also the texts by international visual poets, including: Hausmann, Perfetti, Clavin, Blaine, Bory, Gerz, Carrega and others: a manifesto of Signalism (in Serbo-Croatian and English) and a choice of Signalist poetry of Yugoslavian authors...""Kontexts" no.3, Exeter,Devon, England
"Literatural avant-garde of Belgrade, Zagreb and other Yugoslav towns is composed of groups calling themselves Signalist ones, has now its newspaper, the review "SIGNAL". Stuck to the orientation illustrated by the new review, Signalist movement is reflected especially in visual poetry whence traditional means of expression have disappeared, instead of which certain linguistic and visual rearrangements or a fruitful synthesis of poetry and fine art appears."La fiera letteraria", no. 22, 11 July 1971
"The experiences of this poetry have destroyed completely the poetical "system" codified by tradition. That destruction has been achieved on all levels. In any case, a word as a bearer of communication (in a traditional sense) is not sufficient any more. It often transforms into a signal, while a poet resorts to all means in order to return it in a form of sign..."Michele Perfetti: SIGNALIST POETRY,"Corriere del giorno", Taranto, 27 September 1970
"A new and very valuable contribution to the international scene of concrete poetry. Yugoslavs call it Signalism instead of concrete poetry and emphasise the differences regarding the use of machine technique (especially computers)..."
"Second Aeon", No. 14, 1971, Cardiff
"A very interesting publication containing various critical discussions about Signalist experiences and experiences of other poetical and visual currents. In one part international poetical texts are compiled, while the second is devoted to Yugoslav researches... The third part of the journal is a bibliography of the most famous publications in that area...""Le Arti" No. 6 1971 Milano.

3) Signalism is written about by: (Clemente Padin): LA NUEVA POESIA (SIGNALISMO), "El popular", 16 October 1970, Montevideo; Godehard Schramm: SIGNAL INTERNATIONAL REVIEW FOR SIGNALIST RESEARCH, "Literatur und Kritik", Heft 61/72, Wien; Danuta Straszinska: SIGNALIZM NA CENZUROWANYM, "Literatura na swiecie", No.3, 1972, Varszaw. The famous Polish poet Zbigniev Bienkowsky also writes in the Warszaw magazin "Poezija", presenting his views on avant-garde, with a special review of our movement.Likewise, in foreign publications, my following texts regarding Signalism were published:

1. POESIA-SIGNALISTA, "Ovum 10", No.4, 1970, Montevideo (in Spanish, with a voice of visual poems).
2. SIGNALISM (RECENT YUGOSLAV ACTIVITY), "Second Aeon", No. 14, 1971, Cardiff. With the text there are supplements by: Zharko Roshulj, Vlada Stoiljkovic, László Szalma and Bogdanka Poznanovic.
3. POESIA SIGNALISTA, an exhibition catalogue, "Tool" gallery, Milan 1971.
4. O POEZIJI SYGNALISTYCZNEI, "Litery", No. 5, Gdánsk (with several visual poems by Yugoslav and foreign poets).
5. COMMUNICATION - BEING - APPREHENSION, in "A conceptographic reading of our World thermometer" anthology, Calgary, Canada 1973. (With Signalist supplements).
6. COMMUNICATION - BEING - THOUGHT, in "Kontrapunkt" anthology (Wroclaw 1973, with Signalist supplements).
7. VISUELE POEZIE IN JOEGOSLAVIE (VERSCHIJNING EN ONTWIKKELING) in the book by G. J. de Rook: "Historiche anthologie visuele poëzie, Brussels 1976.
Interesting is also the fact that Signalists had their first exhibition abroad, in TOOL gallery in Milan. Titled POESIA SIGNALISTA YUGOSLAVA from 17 to 31 July, the works were presented by: Vlada Stojiljkovic, Tamara Jankovic, Zoran Popovic, Miroljub Todorovic and Marina Abramovic.

FRAGMENTS ON MAIL ART

Direct transfer of ideas by the means and instruments of human
communication.

Communication - a warrant of existence.

Mail - mediator, and sometimes even cooperator in spreading artistic messages.

Creation - the very act of communication.

Idea and message: yes, but often also an object of certain plastic form and aesthetical nature.

Not "art on the brink of art", but art in the eye and spirit of art.

Without aesthetical, thematical and national fences.

Immanent rules of functioning of mail art.

New media - new artistic forms.

Not only a different form of artistic imagination.

Deprofessionalization and decommercialization of art.

New artistic sensibility sprouted beyond the domain and space of the known, traditional fine arts branches.

Different ways of comprehenssion of the contents and meaning of the being of art.

Changed function of artistic artifacts.

Compound of artistic expression with possibilities of mass media.

Pestilent creative energy of mail art.

Just an artistic hybryd?

Experiment in the very being of art.

To which extent the nature of the parcel can pose boundaries (limitation) in the creative work of mail artist?

Can and dare we to determine artistic phenomena just on the basis of their positions and roles in society?

Changed mode of experience in art.

To put the immanent poetics of mail art more and more to the fore of theoretical consideration and analysis.

Sharpened mechanisms of aesthetical perception.

It is time to abandon gradually and leave to history the simple and one-way definition of mail art by means of technical characteristics, means and ways of spreading.

Source of understanding and agreeing, action and imagination.
Constant expansion of experimental scope.

"Art of satisfaction and discovering".
(Ken Friedman)

Activating of the very structure of medim.

To consider once ogain the nature of communication.

Radical revaluation of fundamental assumptions of art.

Inheriting historical avant-garde, primarily Dadaism, mail art has grown into a compkletely new art discipline.

Search for special forms of communications.

Possibility of codification of visual and gestual signs.

"Beuuty is an information."
(Lotman)

In the being of mail art: ney sources, different criteriua.

Liberation of inaginative potentials and semantic wealth of message.

Action as a semantic gesture.

Dependance of human communication on objects and mediators.

Interpretation of meaning and signigicance of divergent spaces of experiment and researching reach in mail art.

Comprehension of the world through play and imagination.

Communicative artifacts - source of aesthetical information.

Feeling of cillective spirit in network and gently suppressing of individual artistic existence.

Elements of planetary thought and action in crucial preoccupation of mail art.

Awareness of possibilities of mass communication.

Keys of intermedial play.

Just "metamorphosis of art into communication media"?

Discarding of superficial and phenomenal layers of art of communication.

Toward sketching of new artistic anthropology and cosmology of mail art, his tougher poetical and theoretical founding.

Possibility of semiological approach to the basic elements and factors of mail art.

Denotative or conotative value of iconic segments in message.

Communication means and their own inner sphere and dimension.

Continuous experimental-researching dynamism of artist.

How and where the sense of communication is reflected?

Unconscious structures of meaning in gestures and messages.

Non-accepting the established and worn models of art.

Recognition of style characteristics of particular mail artists.

Close experience of media.

Spectrum of artistic actions and opening new experimental and creative possiblities in mail art.

Specific action of body and spirit, separated view, the planetary, media and communication.

Divergency of communication models.

Mail art work (gesture, message, action) as a multi-layered, compact and irepeatable structure.

Ludist projection of the world.

Art - means of communication and analysis of communicative mechanisms.

To try with defining of more distinct boundaries between mail art and other artistic discipline.

Power of information and form of the medium used.

Modification of aesthetical object in mail communication.

Problems of semiology of visual signs.

Radical themes and methods of artistic behaviour in mail art.
Insufficient aesthetization of communication media.

Multiple associative intensification of visual messages.

Mail art one of actional disciplines of mind.

Artist and art at the very source of art.

Creation of freedom in a non-awakened world.

Struggle between communicaton and chaos.

Role of language and linguistic elements in building of aesthetical structure of mail art.

How to avoid systems?

Ambivalent relationship to communication material.

Place and role of creative components in communication medium.

Planetary game and explosion of artistic avant-gardes.

Would the world be the world without communication?

Spendability, irony, self-sourceness, deconstructional metaphysicity - paradoxes of mail art.

Non-bordered spaces of research.

Formation of perceptive structure for reception and deciphering the messages.

Just an art of communication?

Desire for polemical conflict with the world where one exists.

Transformation of the object of research of art.

To insist, beside communication and ludic dimension, on imaginative and cognitive dimension of mail art.

Critical charge and aesthetical provocation.

Liberating power of creative energies.

Communicative activity and search for real aesthetical values.

1981.

PLANETARY COMMUNICATION

(My mail art activities from 1970. to 1987.)

I have been dealing with mail-art since about 1970. when I was mostly engaged in poetical-visual research and was in permanent contact with a number of artists and poets from all over the world.
One of the first mail-art major actions was registered in the journal Signal No. 2/3 in the following way: "Miroljub Todorovic: SIGNALIST MANIFESTATION 1), 20.3.1971, Belgrade.(1)
New type of communication. Basic element of communication is the punched (used) card for an IBM computer. Name of the sender, date and place of the information source, its name and indication are typed on the blank back of the computer card by a typewriter. Thus prepared card is put in an envelope and sent to the consumer by post.
"Names of 63 artists, galleries and publishers from abroad are cited as receivers of the first signalist manifestation. Among others, A. de Campos, C.Padin, M.Perfetti, J.Valoch, J.Blaine, J.Gerz, Sarenco, E.Miccini, E.Jandl, P.Garnier, M.Bense, S.J.Schnidt, B.Cobbing, D.Higgins, Ben Vautier, Art Intermedia, etc. have received such a communication computer card.(2)
The card was sent to thirty Yugoslav poets, critics and scholars: Dušan Matic, Marko Ristic, Oskar Davico, Petar Dzadzic, Eli Finci, Radomir Konstantinovic, Branimir Donat, Sveta Lukic, Novica Petkovic, Tomaz Brejc, Boza Bek, Taras Kermauner, Zelimir Košcevic, Veselin Ilic etc.
I did not note responses to these letters, neither can I remember any of them at this moment, although I am certain there have been some.
I repeated similar mail-art actions the same year and later. Circle of potential consumers changed, broadened or narrowed. Used punched cards of different colors and of standard dimensions were applied all the time. Interventions on the cards were most frequently made by a marker. Punched positions were encircled or some words or messages written, several times the word SIGNALISM appeared, or later on the message: THINK ABOUT SIGNALISM.
I remember a series of cards on which I pasted small rectangular photographs of teeth, which I had obtained quite an amount of from the dental clinic in Ranke street. Computer cards with coloured stickers bearing pictures of animals, from prehistoric dinosaurs, through fishes, birds, mammals, all the way to our direct ancestor - the anthropoid monkey were also interesting.
I started working on an artist book at the beginning of 1972. (3) This action and the book itself were described in the last volume (8/9) of the review Signal as follows:"
Miroljub Todorovic: FORTRAN (signalist book), Belgrade, February 1972. Signalist book FORTRAN is made of six, white used (punched) computer cards in 47 copies. Already cited data (name of the author, title of the book and the date of publishing) are on the first card. The next four cards are filled with marker interventions. Interventions are identical. Stamp of Signal is on the back of the last page with the signature of the author, ordinal number of the book and the total number of copies produced. The signalist book FORTRAN was sent to the following artists, artistic archives, galleries and editorial boards: Clemente Padin, Hans Clavin, Edgardo Antonio Vigo, Jiri Valoch, Julien Blaine, Jochen Gerz, Sarenco, Galleria Sincron, David Briers, G.J. de Rook, Michael Gibbs, N.Zurbrugg, Bob Cobbing, "Art Media", Edition Kimmel, Ben Vautier, J.Van der Wolk, Janos Urban, Klaus Groh, Guillermo Deisler, Stedelijk Museum, Hans Werner Kalkmann, "Ganglia", Archille Bonito Oliva, "Grab Grass", Nachl Nucha, Alvaro de Sa, Archiv Sohm, Bukowski, Marc Poinsot, Horst Trees, "Pfirsich", "Avalanche", Joseph Kosuth, Carl Andre, Paul Berry, Josepf Beuys, Jan Dibbets, Allain Kirili, Richard Long, Sol Lewitt, Peter Kenedy, Janez Kocijancic, Franci Zagoricnik, Boda Markovic and Dobrivoje Jeftic."
A number of artists reacted to the book.(4) I empasise post cards sent by Richard Long on April 27. 1972 from Bristol and Joseph Beuys who sent his post card Fluxus Zone West: Joseph Beuys BRD, Fluxus Zone West: Ken Friedmann USA, Edition Hundrtmark, Berlin, with the well-known stamp Fluxus Zone West and the following text:
"Dear Todorovic,
Many thanks for your small signalist book
Y.S. Joseph Beuys".
Janez Kocijancic, poet from Novi Sad, reacted by reproducing a copy of FORTRAN (No.24/47) as a "Special Edition" in his column "U-R" in INDEX, journal of students from Vojvodina, No. 246, March 23. 1972. A short note with bibliography data was published beneath the reproduced pages of this book.
Kocijancic gives the following information in the same column "U-R" of the next volume of INDEX:
"Not long ago, the newest (signalist) book FORTRAN (name of one of the computer languages) by Miroljub Todorovic appeared in Belgrade. Miroljub produced 47 copies of the book, and then distributed them to his 47 friends throughout the world. Every copy consists of six used computer cards with poets marker interventions. In the previous edition of "U-R" you had the opportunity to see one of the unique copies, reproduced in a number of copies equivalent to the circulation of "Index".
"In the same year 1972, I produced my first stamp with the same message which I used to write: THINK ABOUT SIGNALISM.(5) Apart from this message which I impressed by my own stamp on my communication post cards and letters, along with other (official) stamps of the review SIGNAL, Signalist Documentation Centre, Signalist Artists’ Society, I used it for creating different visual forms, in which its basic message lost or gained in intensity.(6) Two works created in those rather exciting stamp games appeared later in the proceedings STAMP ART,(7) edited by a Dutch poet and investigator, G.J. de Rook in Amsterdam.
In March 1972, a text named "Cosmic hieroglyphs" about the flight of American space ship "Pioneer 10" whose mission was to investigate the Asteroid Layer and the planet Jupiter, was published in newspaper Politika. According to predictions "Pioneer 10" was supposed to pass by Jupiter in December 1973. and emit new data about this giant mysterious planet to scientists. After the emission, which, as we know, was successfully completed, the space ship started its flight deep into the Universe leaving the Solar system behind. "Pioneer 10" carried the first human interstellar message for beings from other worlds. This coded "cosmic letter" was engraved on a gold coated aluminum plate, which, as scientists believed, would endure a flight lasting a hundred million terrestrial years or interstellar distance of 3000 light years.
I considered the text in Politika which included a drawing of the coded "cosmic letter" ideal for further continuation of my personal (mail-art) actions, especially for its coincidence with my earlier interests within the framework of signalism (scientism, natural sciences, planetary art, cosmology). I copied it a few times by a photocopier and printed it by offset technique (lithography) on A4 format paper. This text soon replaced computer cards in my communication within international communication network which I joined. A photocopy of the text was sent to different artists, galleries and archives, for numerous exhibitions, sometimes without any intervention and most frequently with interventions.(8) Interventions in fact consisted of encircling certain words in the text, those which seemed to me to be key words, such as: space ship, star, hieroglyphs, Jupiter, first, hydrogen, Earth, origin, generator, message, thus, Sun, infinity, marked, cells, signal, decoding, uncertain, beings, etc. I connected frequently thus encircled words by straight lines with the lifted hand of the man whose picture was on the coded letter. A radial, verbal-visual constellation was created, rather impressive for me, full of meanings, which was somewhat different in every achievement because different words were encircled and by different ways (lines) assembled in the focus of the man's hand.
A series of these texts with interventions, which besides the existing title Cosmic hieroglyphs got another indication Signalist Project, was the framework of my first mail art exhibition Signalist Research 1 (communication - eye) in the gallery of the Students Centre In Belgrade from February 26 to March 9 1973.(10) Apart from this project, photocopies of letters, envelopes and other selected mail material which I received in the period from 1970 to 1973 were exhibited along with photocopies of flight itineraries of German airlines company Lufthansa. The whole project, including a medical description of the eye as one of the basic communication organs, I named “Total Communication”. On the occasion of the exhibition, in this sense I also wrote a manifesto which was published in the catalogue titled COMMUNICATION-ENTITY-THOUGHT.
According to the attitudes expressed in the manifesto: ”Communication is at the very basis of the entity. It is an element and the fact of its existence. A positive measure of its pace and growth from primary, rudimental to the powerful planetary consciousness. I communicate, thus I exist, therefore I create. The essence of communication is ambiguous in the deepest sense of the word. It is social-historical and exact, and artistic and subjective in its most intimate, most human aspect. Its means are the levels of civilization. Communication is the basis and nourishment of human discoveries.”(11)
This Manifesto shows the significance I attribute to communication (i.e. to mail-art as art, which directly emerges from certain communication models), since I consider it to be the basis of almost all research during the past twenty years in painting and even literature.I printed a series of eight postcards in the beginning of 1973. Almost all of them contain works from broadly taken field of signalist research. Those are: Anagrams 1968 (visual poetry), Lunometre 1969/70 (verbal-visual poem), Alphabet 1969/70 (visual poem), Gordian Knot 1971 (gesture poem), and Signalist Manifestation 1971 (gesture poetry). Cosmic Hieroglyphs were reproduced with the following project interventions on the card: encircled words connected with the man’s hand by straight lines are given as photonegatives, so that the text, coded letter, drawing of a man and a woman, and the interventions are shown on black “cosmic” background, which thus underlines the character of this cosmic informative communication operation. Mail-art work Communication made by collage technique and photocopying international mail coupons was published in 1972. The sign “Signal”, i.e. the emblem of Signalism with a short information about the Signalist Documentation Centre is printed on the last (eighth) card. The series appeared in about 5000 copies (cards).(12)
In the beginning, the post cards were sent most frequently together with the previous material of the Signalist Project: Cosmic hieroglyphs , and they were in this way exhibited on exhibitions and reproduced in proceedings, catalogues and anthologies of conceptual art, visual poetry and mail-art as: LA ESCRITURA EN LIBERTAD, by Ferdinand Millan and Jesus Garcia Sanchez, POST DOCUMENTS(13) by Juna Muzukami etc.
In the course of the following years, at certain time intervals, I sent series of my postcards to artists, writers, scholars and public persons in our country and abroad. The stamp with the message THINK ABOUT SIGNALISM was most frequently stamped on each card. Some of the sent cards returned, mostly for the wrong or changed address of the receiver. The post regularly stamped its official stamp on the returned mail. This gave me the idea for a mail-art action named Unsuccessful Communication, which I went into much later.
Interest for mail-art suddenly increased in the world about 1976/77. Visual poetry slowly disappeared. Even the last significant journals specialized in this branch were disappearing. Conceptual art drowned into statistical documentation of its own material and ideas, in bizarre language tautology. Mail-art appeared suddenly as a “fresh and lively framework for certain artists”, a new motive power which started gathering all the energy of restless, investigative and unconventional spirit.
In the period from 1971 to 1978(14) , based on mail-art and artistic communication on the whole, I established closest co-operation with German artist Klaus Groh and his I.A.C. (International Artist’s Corporation), who had for several years already published INFO (Information Bulletin) with most significant contemporary information, connecting in this way a great number of artists from many countries.
Groh published my second artists book (bookwork) within his well known edition Art Booklets .
This was a small book, format 7.5/10.5 cm, in fact a A4 format paper folded eight times so that it has 16 pages with the “covers”. Klaus Groh published more than fifty such booklets by visual poets, mail-artists, conceptualists and other researchers in the wide space of art.(15) Mine, entitled APPROACHES appeared under number 25, in 1973.
Fourteen scientific symbols which are applied in physics and mathematics were written on the pages of APPROACHES with a marker. The book begins with the symbol of approximation (flow) and finishes with the symbol of infinity.
Reviewing the whole edition of Art Booklets in London journal Art and Artist’s the critic David Zack(16) noted in September 1974:
“Miroljub Todorovic’s Approaches is one of several masterpieces in the I.A.C. series. It signals artists, which is to say individuals, approaching their goal, points out pitfalls, and concludes Entropy equals infinity.”
Besides postcards, in 1973 I published two more mail-art posters with the same title Communication in offset technique.(17) On one of them are maps of central parts of the following cities with main roads: Vienna, Sofia, Budapest, Athens, Bucharest and Rome, while on the second there is again the American space ship “Pioneer 10” in the foreground. But, besides the drawing of the “Pioneer” and the “cosmic letter” there is a visual representation of the whole itinerary of the aircraft from the Earth through the Solar System near Jupiter and Saturn towards outer planets and cosmic infinity.
Numerous photocopies of official post stamps published previously in our newspapers with high circulation on the occasion of significant philatelist editions, or representations of the post or postal system should certainly be added to the mentioned works. For example: “Yugoslavia 1972”, stamps with cosmic motives in the world, and similar. I have also copied and distributed one page of the American journal Playboy with posters reduced to the size of a stamp bearing the advertising text “Mail coupon today”. On all of these photocopies, besides the name and address, I added only the words: Communication or mail-Art.
I started producing my own stamps towards the end of 1978. Up to now few series with different motives were produced: parts of maps, postal coupons, countenance of the author, circling of a satellite or flight of a rocket around the Earth, surface of the Moon, a clipping of the “cosmic letter” (few variations), series of pictures of poets, scientists, statesmen and cosmonauts, radiation, picture of electron movement in the atom, picture of the globe with continents, etc. Most frequent inscriptions and messages on the stamps were: Signalist Post, Signal, Communication, Think about Signalism, Signalist Poetry, The Moon Sign, Trip to Starland, Communication, Signal Art, Mail-Art, Think about Mail-Art, etc. Most of these stamps were published in a few volumes of the French journal DOC/K/S.(18)
I producing whole series of postcards out of smaller pieces of cardboard, dimensions were 10.5/15 cm, as required by postal rules. These cards were unique (one copy of each) with different names and messages such as: THINK ABOUT SIGNALISM, READY MADE POETRY, with collages on both sides except for the space for the address of the receiver.(19) I put official and my own stamps on these post cards and sent them by mail. Some of them are mentioned by Polish poet and critic Julian Kornhauzer in his PhD thesis SIGNALISM-PROGRAM OF SERBIAN EXPERIMENTAL POETRY, chapter Stylistic Approach to Signalist Poetry (“... 17 post cards the author of which is Miroljub Todorovic, each with a title of the work, some with stamps given by the author, all addressed to me...”).(20)
In February 1979, I finally achieved previously conceived mail-art action “Unsuccessful Communication”. I sent my post cards (series printed in 1973) with the basic message THINK ABOUT SIGNALISM to a few domestic poets, writers and critics dead long ago, to two leaders from the time of the First and the Second Serbian Uprising, and two living outstanding writers. The cards were mailed as registered mail, some of them as urgent. The addresses were arbitrary, of course, but there was a “system” in it, too.
A registered post card was sent to Djura Jaksic with the address Skadarska number 47. Besides two ordinary stamps another appropriate one was sealed with a reproduction of his famous painting. This stamp,(21) at least twice as big as the ordinary ones, with nominal value of 1.20 para did not have any title, but Djura Jaksic was printed in its upper right corner in clear, large gold letters. The card was mailed (according to a rather visible stamp) on February 10, 1979. It was returned to me after two days (February 12) with the postal stamp -inconnu . The postman even wrote with a ball pen, above the stamp: “In Skadarska 47 unknown”, put the date 12. II. 79 and signed it.
A registered card was also sent to the poet Vojislav Ilic on 9.2.1979 from Belgrade Post office 6, to the address Makedonska street number 30. The next day, a postman noted on the upper part of the card: ”10.II 79 unknown, mark with whom he lives” (assuming probably that a subtenant was involved), and signed. A stamp inconnu (underlined) was put below everything and signed. The card was returned to me on February 13 by morning mail.
An urgent, registered post card with a message “think about Signalism” was sent to Dr Milan Skerlic addressed to Milana Rakica street number 17 on 10.II 1979. Since he could not find him, the postman stated in the upper left corner of the card: ”Delivery attempted, according to statements of tenants, unknown - 11.2.79 at 11.10 h” (signature).
A card for Bora Stankovic was addressed to Knez Mihajlova street 14. An appropriate stamp was sealed, with the picture of the writer and label Bora Stankovic 1876-1976 . Above it was written in Cyrillic alphabet “Centenary of Birth”. A stamp produced in the mean time “SIGNALISM 1959-1979 think about signalism” to mark the anniversary, was stamped only on the postcard mailed to this writer. The card returned on February 12 with the already customary mark: unknown.
A post card with a reproduced part of a signalist poem called Alphabet and the message THINK ABOUT SIGNALISM, was mailed to Jovan Jovanovic Zmaj in Laza Kostic Street number 4 in Novi Sad. It was returned a couple of days later with a big stamp, which occupied more than half of the available space left for writing. The stamp differed from those on previous cards, because it comprised a variety of reasons for which mail could not be delivered. It was not only stated that the receiver is unknown-inconnu. First of all, it was written return - retour in the upper part of the stamp in somewhat bigger letters. Beneath this, the following words were written in two columns - left in Serbian and right in French: unknown, moved, does not receive, on a trip, does nor exist, deceased... I could not make out the last two words because of illegible printing. A small square is placed between the Serbian and French words for the postman to encircle or mark in some other way, showing thus the reason which prevented him to deliver the mail. It is interesting that on this card the postman marked the square related to moved-demenage and signed over it.
A post card with a reproduction of gesture poem Gordian Knot was sent to Laza Kostic, the founder of modernism in our poetry. The address on the card was Jovana Jovanovica Zmaja street, number 7, also in Novi Sad. The number of registered delivery on it was 768. On February the twelfth the card was returned to me with the stamp differing from the one on the postcard sent to Zmaj. The stamp was smaller, the letters quite smeared, difficult to read. There were no more words in French, (on the other hand, Laza knew French, he even wrote his secret diary of dreams and love cravings for Lenka Dundjerski, dead for some time already, in this language). Contents of the stamp: upper part in bigger letters: RETURN, beneath this in two series: does not exist, unknown, on a trip. Second series: deceased, left... I could not decipher the third word. There were two more statements beneath everything: Incomplete address and Does not exist any more. The postman marked the square referring to unknown and signed, probably as required by rules.
A card was mailed to Milos Obrenovic with the address Karadjordjeva street number 6, and another one to Karadjordje Petrovic with the address Miloseva street number 32, both streets in Belgrade. I unintentionally wrote the wrong name of the street in the second case. Instead of the official name of the street Kneza Milosa, I put Miloseva ( name Milosa Velikog is in everyday use as well), possibly led by the street which got its name for Karadjordje without stating his title - “Leader”?. The card was mailed as urgent and registered. At 32 Kneza Milosa street, the postman established that Karadjordje Petrovic was unknown on 11.II 79. The same day another postman tried to deliver the post card to Karadjordje at 32 Miloseva street. His statement was: “Delivery attempted, does not refer to Miloseva”, signature.
Signalist post cards could be delivered neither to: Vladislav Petkovic Dis at 36 Baba Visnjina, Milorad Sapcanin at 3, Aberdareva street nor to Sima Milutinovic Sarajlija at 28 Njegoseva street, all in Belgrade.A registered card was sent to Augustin Ujevic at 87 Ilica 87 in Zagreb, returned with a stamp similar to the one on the card mailed to Laza Kostic. The postman marked the square beside the word unknown by a green ball pen and additionally underlined the word itself. Since the stamp on the card for Tin is clearer than on the card sent to Laza, I could now read easily (decipher) the third reason (in the second series) for not having the mail delivered. It said: DID NOT SEARCH.(21)
After “Unsuccessful Communication”, some time in spring 1979, I came to the idea to offer a selection of mail-art, which would include theoretical texts beside works, to one of our journals (Delo and Koraci had priority). This idea was accepted by Muharem Pervic editor-in-chief of Delo , so that I soon set out to do it. By mid May I had already made an invitation letter in English, printed and sent 300 copies. In this letter framed by my artistic stamps, I demanded artists to send me their works concerned with mail-art: catalogues, books, bibliographies, as well as theoretical texts. I emphasized that I was working on a voluminous anthology of mail-art which would appear in journal Delo. I mentioned at the end that the received material would be presented at the exhibition titled THINK ABOUT MAIL ART. (I counted here on the Happy Gallery at the Students Cultural Centre).
By the end of May already, first packages for the anthology began to arrive. Among those first sparrows were Pawel Petasz, from Poland, a known mail-artist, founder of the Commonpress international mail-art journal and Guillermo Deisler from Chile now living in exile in Bulgaria. Soon afterwards, Klaus Groh, Sarenco, Daniel Daligard, Michelle Perfetti, Eugenio Miccini, Jacque Lepage, Ulises Carrion, G.A. Cavellini and others wrote to me.
During the entire summer an almost unbelievable amount of avant-garde journals, letters, post cards, original works of variable forms and sizes, photos, artists books, stamps and similar material arrived. Among others, the following artists wrote to me and sent their works: Romano Peli, Adriano Spatola, Timm Ulrich, E.F. Higgins, Dick Higgins, Endre Tot, Ray Johnson, Toshiro Saito, Carl Andre, Julien Blaine, Gino Gini, Lon Spegeman, Lamberto Pignotti, Ben Vautier (who sent plenty of catalogues and material of the group Fluxus, apart from his works), Vittore Baroni, Clemente Padin, S.J. Schmidt, Anna Banana. American Ken Friedmann, along with his works sent a huge package of catalogues, books, manifestos, photocopies of newspaper articles and reviews, copied material from which a whole study about American after war avant-garde, fluxus and conceptual art could have been made.
The invitation letter titled “Think about Mail-art” was published in extenso in one of the summer volumes of the Canadian artistic journal Parallelograme, in the column “Classified Abroad”. The invitation was also published in the American journal Art monthly and in some English art magazines as well. I have learned about this from the letters of some authors, who refer to these magazines, and some of them, like for example Mike Dyar from San Francisco, who, along with his works, sent a clipping from a newspaper (journal) in which he read about my invitation for the anthology and exhibition without mentioning the name of the newspaper (journal) in question.
All that voluminous material had to be arranged and a selection made. Selection had to be rigorous, because it turned out that this time I had only eight to nine sheets (16 pages each) at my disposal instead of over 200 pages which I had in Delo number 3, March 1975, when I published the Anthology of Concrete, Visual and Signalist poetry. This significantly changed and deranged my original vision of this project.
Anthology of mail-art was delivered to the editorial board of the journal about the beginning of January 1980. Meanwhile, the idea to exhibit the received material in the Happy Gallery of the Students’ Cultural Centre within the framework of the planned exhibition THINK ABOUT MAIL-ART failed to develop. Delo was quite late, and I thought that the selection would appear in its December volume (previously agreed on November volume was already in print). But, as it often happens, there was a little delay and postponing and the anthology was finally published in the February 1980 volume of Delo.(22)
Publishing of this volume has contributed quite a lot to bring mail-art, as a new and challenging artistic field, closer to our artists who, owing to works and numerous theoretical contributions, could comprehend the significance, seriousness and breadth of mail-art which successfully avoids all the possible barriers of language, nationalism, ideology. Direct result of the appearance of the anthology was an increased interest in mail-art, the fact that a few of our artists joined the international communication network, starting new actions, exhibitions, mail journals, bulletins, etc.(23)
Publishing of my new bookwork Signal Art was the next project, which marked the beginning of my continuous mail-art activity. This booklet appeared in November 1980 as a signalist edition in 77 copies and it is in line with my previous artists book. Although mostly mail-art works are reproduced in it, the book was made by a printing, silk-screen technique which greatly corrupted the original and on the other hand, under a new graphic tension, acquired certain properties of the original, i.e. its “originality and uniqueness”.(24)
Besides pages printed by silk-screen technique Signal Art included one photocopy sealed on the next to the last cover page. In fact, the text What is mail-art - mail-poetry? , published in my column “Information” in the newspaper Knjizevna rec in 1979, was photocopied here. Prints of the stamp THINK ABOUT SIGNALISM and THINK ABOUT MAIL-ART are found on a certain number of copies.
It is interesting that this book was a subject of polemics which I had with young poet Branko Cegec from Zagreb. Being insufficiently informed, having a rather amateur view of mail-art and after-war avant-garde in general, this poet poured malice on Signal Art in journal Oko.(25) There was nothing left for me to do but oppose sharply this ignorance united with malice and transparent conceit under the mask of avant-garde and so-called radicalism.(26)
My one-man exhibition titled MAIL-ART took place in Happy New Art gallery of SKC in Belgrade From May 21 to 31 1981. A small exhibition area caused rather strict selection of works. Central place was taken by the “Unsuccessful Communication”, which, in fact attracted greatest attention of the audience and caused disputes and comments. A voluminous catalogue was published on the occasion of the exhibition. Slavko Timotijevic, among other, paid special attention to the “Unsuccessful Communication”, in the introductory text titled Miroljub Todorovic - Mail-art.(27) Apart from this, the following texts were published: a text Authentic Protagonist of Yugoslav Avant-garde by Michaele Perfetti, my two texts about mail-art, detailed bibliography and quite a number of mail-art works with an emphasis on works from the “Unsuccessful Communication”. Postcards sent to prominent poets and figures from the past,Vojislav Ilic, Djura Jaksic, Jovan Skerlic, Bora Stankovic, Karadjordje Petrovic, Milos Obrenovic, Laza Kostic, Jovan Jovanovic Zmaj, Vladislav Petkovic Dis and Augustin Ujevic were reproduced (as photocopies).
Along with the catalogue, the Gallery published a special invitation card printed in silk-screen technique with a reproduction of one of my unique post cards as well as a very successful poster of the exhibition.
In 1980 and 1981 few significant exhibitions, in which I participated, were organized. Here, I distinguish especially MAIL ETC., ART (traveling correspondence art exhibition), which began in January 1979 at the Colorado Boulder University, traveled around American universities all through the year and finished at Boulder again, in February 1980. My art stamps and the post card Cosmic Hieroglyphs were published in the beautiful and colorful catalogue. Besides this, in the introductory text, the critic Jim Field emphasized my, as he said “art manifesto” Fragments about Signalism , along with a review of the works by Canadian Chuck Stake, American Richard Kostelanetz and Frenchman Jean-Paul Thenot.(28)
Exhibition MISLAID INFORMATION organised as well by students this time in the place WAGA WAGA in Australia was also interesting. Selected material (which included my artistic stamps entitled “Signal Art”), was published in a special issue of the students’ magazine Race , devoted entirely, to this project.
Within the edition “Factotum-Art, Verona 1980, Sarenco, Eugenio Miccini and Franco Verdi, printed a collection of essays devoted to the book as a work of art titled Liber (practica internazionale del libro d’ artista). Work on this project began back in 1978, when these avant-garde poets demanded by letters quite a number of artists to send them one artists’ book each for the planned exhibition and book (collection). There were 141 artists (poets, avant-garde researcher) from a few countries who participated in this project, with Italians predominating.
In his inspiring introduction Eugenio Miccini said that the book, in the new artistic practice, from a mythical object had become a “subject, anti-book, allegory”.
Among many artists’ books in the collection there was a reproduction of the single copy of my signalist book Cobol which was made of used computer cards with interventions with a marker. Dimensions of the book was 8.5x19 cm, and the reproduction showed that it was produced in Belgrade in 1978.(29)
I co-operated most frequently and most successfully with the Italians from the very beginning, ever since I joined the courses of avant-garde movements in sixties and seventies. I took part in many exhibitions in Italy, I was represented in their collections and anthologies of visual poetry and mail-art. With the exception of the Julian Kornahuzer’s study in Poland, Italians have shown the greatest interest in signalism. The number of authors who wrote about our avant-garde movement witnessed this fact: A. Spatola, M. Perfetti, M.D. Ambrosio, A. Lora Totino, E. Minarelli.
This co-operation continues with the new generation of avant-garde authors, i.e. the third wave of mail-artists, with Nikola Frangione as one of its leading representatives. Frangione included my works in the book Snapshot (collective work of mail-art), which was published in only 100 bibliophile (I own the 44th copy) copies in January 1980. That same year, the same author edited and published the international mail-art magazine Commonpress no. 26 with the leading topic “Zen and Art”, in which few of my artistic stamps from the series Self Portrait were found.
In the beginning of 1980, American Jane Ellen Gilmor edited and published Commonpress no. 25 with the topic “Ruins”. One visual poem, which I reprinted later in the collection Brain Soup (1982) was published in this issue.
The name of Belgian Guy Schraenen from Antwerp was known and respected in avant-garde circles a long time ago. In October 1980 this organizer and theoretician began a project which will certainly be noted in large letters in the history of mail-art.
Namely, Schraenen initiated mail-art party named ANTWEP INTERNATIONAL MAIL-ART FESTIVAL (exhibitions, lectures, projections), which would last all the year long, in the Internationaal Cultureel Centrum in Antwerp. Within this festival Schraenen also published Libellus the first monthly publication for mail-art. Various works concerning mail-art, concrete and visual poetry, manifestos, messages, sentences, information and invitations for participation in exhibitions, collections, anthologies and other projects of avant-garde artists from Brazil to Japan, and from Finland to Australia were published in Libellus, 12 issues of which appeared from October 1980 till October 1981. Starting from the second volume of his magazine, Schraenen began writing his specific diary of received mail with the names of senders, which gradually grew from one issue to the other. From the first issue he published stamps (stamp prints) with the imaginary countenance of one or two mail-artists. A few of my visual poems and mail-art works appeared in Libellus. Stamp (blue stamp print) with my imaginary countenance(30) was published in issue no. 12, and at the same time, Schraenen sent me prints of these stamps on special paper as well as a special envelope of his ICC (small press archive communication) with a stamp.
Apart from the mentioned actions initiated and achieved by artists, as we have seen, it is significant to mention actions of an official institution. Metronom (Espai del Centre de Documentacio d’Art Actual) from Barcelona organized a great mail-art exhibition from October 13 to November 21, 1980, with a voluminous catalogue in which one work of each participant was printed. A year later, this institution arranged an exhibition devoted to artists’ books, also in October and November. As Rafael Tous, director of Metronom, informed us, about 2000 books by more than 800 artists arrived for this exhibition. In the voluminous catalogue, critics and theoreticians tried to define “artists’ books” and determine their role in new trends. For Hubert Kretschmer, the form of the book is a message itself.(31) Jose Luis Mata started from the fact that production of special books, object-books, anti-books and everything that can be connected with the idea of a book, is in fact a “spark of revolt” against customary, often one-dimensional living and creative practice.(32) For Guy Schraenen, artists’ book, together with dadaism, has revolutionised the artistic world of the twentieth century.
According to this critic, artists’ book, has contributed to this revolutionizing not only by searching for new forms or contents, but by spreading works of art which was as significant, and one could add by broadening the limits of art.(33)
The front page of my signalist book Fortran, Belgrade 1981 (one more book from the family of fortran) was published in the Metronom catalogue on page 117, as item 624. Its basic characteristics: “libre original, 8 pag.-8x19 cm” were given on page 187 with the same number.
Towards the end of August 1981, Peter Jorg Splettstosser organized an exhibition of art stamps STAMP = QUOTATION QUOTATION = STAMP for the Festival of Culture in Bremen. After Splettstosser’s invitation, 123 artists, poets and composers sent their ideas (designs) for artistic stamps of size not bigger than 8x5 cm. The catalogue of the exhibition was in fact produced manually of stamp seals in different colors and represented an exceptionally interesting collection in which variety of artistic possibilities of this form of mail-art could really be recognized. After the exhibition, Peter Jorg Splettstosser sent stamps to all the authors, which he had made according to their designs. This is how I obtained the stamp with the message THINK ABOUT MAIL-ART which framed a drawing typical for my fine art interventions.
In my Diary , which I kept intensively at the time, there is a note dated 24.9.1981 (Thursday): “Letter from Japanese city Kobe with the catalogue and two photos from the exhibition Portopia ‘81. The exhibition was opened in mid March and lasted till September 15. It was visited by 14 million people. Mail art named “Letters to Kobe” was as well very successfully presented together with the this grandiose exhibition. According to the organizers, this part of the exhibition was seen by three million people. In Kobe, mail-art was really “seen”.
Young Belgian artist Guy Bleus, organized an international mail-art exhibition ARE YOU EXPERIENCED? in Brussels in October 1981. Specialty of this exhibition, i.e. of its catalogue, was the fact that works in it were not printed as usual, but transferred to microfilms and then attached to the printed part of the catalogue.(34)
Most spectacular and certainly most significant mail-art exhibition in 1981 and not only then, was staged as part of XVI Biennial in Sao Paolo. This performance contributed a great deal to further recognition of mail-art and its striving to become “some sort of cultural capillary network of cosmic art”. Biennial is so well known in the world that I was quite surprised when a letter arrived from Walter Zanini, president of Biennial Counsel and one of its main organizers inviting me to participate at the exhibition “Nucleus I - Mail - Art” which was designed as a part of XVI Biennial.
I have known Zanini earlier since I participated in the exhibitions Prospectiva (1974) and Poetica Visualis (1977), which he had very successfully organized as a director of the Museum of Contemporary Art at the University of San Paolo. This time, for the Biennial, I mostly sent him previously copied and printed materials with interventions on some of the works, the material that I participated with at other exhibitions of similar kind. Zanini informed me by a letter of July 1 that he received the works, thanked me and said that he would send new information about the exhibition he prepared in due time.
XVI Biennial in San Paolo lasted from October 16 to December 20, 1981. On December 6, I received another letter from Walter Zanini informing me about some details of this great performance. According to his words, more than six thousand documents were presented at the mail-art exhibition in a space of 2000 cubic meters. Among other foreign mail-artists the following artists attended personally this exceptional mail-art celebration: Cavellini, Ulises Carrion and Jonier Marin. Zanini ended his letter with a promise that he would soon send the catalogue of the exhibition. The catalogue which arrived afterwards confirmed all the grandeur of this mail-art performance in Sao Paolo.(35)
I will finish describing exhibitions that I took part in during 1981 which was extremely rich in mail-art happenings, with a note about ARTISTS’ POSTAGE STAMPS exhibition which I organized together with Slavko Timotijevic, historian of art and fine art critic, at the Happy Gallery of SKC where he was director, in November 1981.(36) At the exhibition, 93 artists from several countries participated. Quite a good catalogue was printed with reproductions of stamps in black and white as well as two post cards with reproduced artists’ stamps.
In the following few years my interest in mail-art did not diminish significantly, but I became considerably more choosy and selective concerning exhibitions, and I participated only when I evaluated and judged from the invitation or some other means, that certain aesthetic quality and research improvement in this new artistic field would be expressed, that it would not be reduced to mere communication.
Fine art critics could not remain indifferent to mail-art and its experimental improvements any longer. On this occasion I would like to mention our outstanding fine art critic Zoran Markus who, besides interest in Signalism,(37) showed a lively interest in mail-art. In 1982 Markus among other included, a few of my mail-art works in his IZBOR ‘82 (Selection). Some of them - letter On Kawari and a manually produced post card were published in the catalogue of the exhibition. I assume that this was one of the first inclusions of mail-art in a first-class exhibition in our country.(38)
In the introductory text of the catalogue, Zoran Markus talked about mail-art with plenty of understanding, especially analyzing “Unsuccessful Communication”. According to his words “post cards were returned with notes by postmen and those concerning Unsuccessful Communication form a series of social, professional and linguistic data broadening the sense of the basic message”.(39)
From 1982 till the moment when I am writing this (October 1987), I had three one-man exhibitions and participated in more than ten collective mail-art exhibitions in the world. Among them, INTERNATIONAL MAIL-ART EXHIBITION OF VISUAL MESSAGE ‘82 at Kwan Hoon museum of fine arts in Seoul 1982 and SEOUL INTERNATIONAL MAIL-ART EXHIBITION in the Art Centre of Korea in the same town next year should not be forgotten. On the occasion of both exhibitions well prepared catalogues were published.(40)
Peter Kustermann from Minden (West Germany) published some sort of poetical-mail-artistic collection titled Kein Krieg in meiner Stadt! It is printed on the occasion of the exhibition with the same name organized by the same author.(41) The same year, I received a catalogue TIMBRES D’ARTISTES from Jean-Marc Rastorfer, published after the international exhibition of artistic stamps organized by Rastorfer in Laussane back in 1980.
In autumn 1982, my one-man exhibition THINK ABOUT SIGNALISM was organised as part of the XX October Meeting of Writers. The exhibition included works in the field of visual, gesture poetry and mail-art. Besides some visual works, texts Particularities and Convergences in Signalist Poetics (Matteo D’Ambrosio) and What is Signalism (Dave Oz) were published in the catalogue.(42)
My following one-man exhibitions were: SIGNALIST RESEARCH, (visual poetry, mail-art) in the gallery KOV, in Vrsac in 1983, and SIGNAL ART, some kind of retrospection of my complete work in the Gallery of the Contemporary Art Museum in October 1984.(43) Both exhibitions included mail-art works.
Signal Art was the last one-man exhibition I had. In the meantime, I have exhibited my mail-art works at international collective exhibitions: INTERNATIONAL MAIL-ART EXHIBITION in Budapest 1984, L’OBJET CULTUREL in Pon-a-Mousson, Lorraine 1985, THE SCROLL UNROLLS in Janco DADA museum Israel 1985, INTERNATIONAL ARTISTS’ POSTAGE STAMPS EXHIBITION in Weddel 1985, ARTISTS’ BOOK in Oldenburg 1986, LA COCOTIER (International mail-art exhibition) in Noumea, New Caledonia 1986, BELEGKEPEK (Stamp Images) in Budapest 1987 PAISATGE (Exposicio Internacional de Mail-Art) in La Carrotxa, Portugal 1987, etc.
Bernard Lobach, outstanding German conceptual artist published a voluminous catalogue named “The Bible of Artists’ Postage Stamps” on the occasion of INTERNATIONAL ARTISTS’ STAMPS EXHIBITION which he organized in Wedel in 1985. The organizer of the ARTIST’ BOOKS exhibition in Oldenburg was Klaus Groh. Although Lobach rightfully called his publication “The Bible of Artists’ Postage Stamps”, it seems to me, that Groh had even more right to name the catalogue of his exhibition “The Bible of Artists’ Books”. This catalogue contained few significant theoretical contributions, and answers to the question “Why artists’ books?” by authors themselves, and finally numerous reproductions of works.(44)
Apart from one-man exhibitions and participation at international mail-art exhibitions in 1983, I sent a few post cards to Aleksandar Flaker, an excellent expert in Russian avant-garde from Zagreb, as part of the project SIGNALIST COMMUNICATION, which I practiced under different circumstances and on different occasions from the very beginning of my dealing with mail-art. Stamps Think about Signalism and Think about Mail-art were sstamped on these cards with artists’ stamps and small collages, etc. Finally, a SIGNALIST BOOK was mailed, made of computer cards with indication saying that it is unique, made especially for professor Flaker.(45)
During June and July 1984, at certain time intervals, I mailed a series of eighteen postcards to literary critic Zivan Zivkovic.(46) This series included three types of postcards. In the first group were photo cards with motives from Visual poems Lunometre, I will Tell you with Strawberries or Robin in the Cage, Alphabet and one fragment from the visual essay Geometry of the Poem.
Five of such cards were mailed to Zivkovic: two were bore stamps with Think about Mail-Art and the date when one was expected to think about mail-art was indicated. On one postcard the determined date was 3. 7. 1984 and on the other 27. X 1984. On the remaining three cards stood the stamp THINK ABOUT SIGNALISM. The dates suggested for thinking were 14. VI 1984, 16 VIII 1984 and 7. XII 1984.
The second series of seven postcards included in fact processed computer cards. They were of different colors. Most of them included the message Think about Signalism, this time without a suggested date for thinking. On many cards there were artists’ stamps with different interventions made with a blue marker.The third series were hand made postcards, made of cardboard. There were six of them. Three were made of black cardboard, two of green and one of white. Contrary to the previous ones, all six cards were mailed as registered letters and five had indication - urgent . Drawings, visual poems and copied or for that occasion especially made artists’ stamps were on the cards. Countenance of Goethe and a handmade message “Think about Signalism” (in English) beside it are on one of the cards made of black cardboard. On the other one, there are deformed letters, etc.
Two-way communication was achieved with the poet Slobodan Pavicevic. In autumn 1984, we exchanged a few postcards of different appearance and design with different messages. Among others, Slobodan treated two sentimental postcards from the thirties by putting his stamps and collages on them and changing in this way the very essence their trash appearance and message. Here are also treated cards of Zmaj Children Festival and Children Sparks , one ancient postcard from Paris and a more recent postcard with the face of a Massai girl from East Africa.
Postcards I sent to Slobodan Pavicevic were made of computer cards, cardboard and already existing picture postcards published by the National Museum in Belgrade. These picture postcards with faces of Archangel Gabrielle, an unknown saint from Gradac, a miniature from Miroslav gospel, a sculpture from Lepenski Vir and antique motives were treated by drawings, artists’ postage stamps and stamps.
Pavicevic and I planned to publish our mail-art action, i.e. its material (postcards) in a book. Unfortunately this idea was not effectuated so far.
I have noted previously that I have become more choosy and selective concerning participation in international mail-art projects. I have established some rather strict criteria for such participation and I do not deviate from them. A few days ago, in my mail-box which was by the way made especially for the needs of mail-art back in May 1970, for mail-art purposes, a letter arrived from Galantai-Artpool archives in Budapest. They are inviting me to send my mail-art works for the Exhibition “Duchamp Spirit in Contemporary Art”. The exhibition is being organized on the occasion of hundredth anniversary of the great Dadaist magus Marcel Duchamp (1887 -1987). I will certainly participate in such a project.

Notes:

[1] I think that the difference should be emphasised between Signalist manifestation as understood here in communication mail-art sense and Signalist manifestation as I defined my actions in the frame of gestual poetry at he beginning. In the new issue of Signal, besides photos of a gestual action there an explanation Signalist manifestation I defined then signalist manifestation (gestual poetry) as “new, open communication system, in which the artist (poet, producer of art), and frequently the consumer of the work still I creation both become integral parts of the final artistic creation.” On the published photography, I hold a poster with parts of my computer poem With noodles certainly, created in the Mathematical Institute in Belgrade 1971 in two series. In the first series the action is performed with the poster with the mentioned computer poem sealed on it, and in the second, my playing with computer cards is recorded by a camera. Part of this action (three photos) is published in the book Algol (1980) entitled Gestual Poem.I have performed first signalist manifestation of this type (action, gestual poetry) on April 14 1969 with the poster Hotbed. I have printed 80 copies of this poster-poem size (36x52 cm) on cardboard in several colours with one of my friends, half illegally in the great printing company “Privredni pregled” in the beginning of April 1969. After that, the mentioned day, I sealed the biggest part of the poster poem in Belgrade, mostly in the centre of the city, in public places, on walls, windows and accesses to certain cultural institutions. I remember well the excitements I felt while placing two poster-poems (red and black) on the wall of the long, at the time dark corridor of Publishing house “Prosveta” in Cika Ljubina street 1. The posters disappeared from “Prosveta” (they were removed) during the same day, as I convinced myself later.I have performed a similar action on July 3 1970, during IV Belgrade threeanial of Yugoslav fine art, in which I participated. During the opening of this exhibition I distributed to the visitors and participants poster-poem Signalist poetry and talked about the contents and meaning of this communication action.There were four visual poems on the front page of this poster poem, and six variations of the computer poem With noodles certainly on the back cover. One computer card was attached to the poster. I remember a conversation with Oto Bihalji Merin and his half humorous question, why do I give him the poster-poem with the red computer card, when he noticed that the cards were in different colours and the red one was the rarest.One should neither forget here, the gestual action Head Movements performed the same year 1970 in one of the devices for express photography in Bezistan, Terazije. Part of these photos was published on the cover of my collection Staircase (1971) without any note about their meaning.
[2] It is interesting to mention, that Michele Perfetti, known Italian visual poet, mail-artist and critic has mentioned, in his text Poesia e violenca (Signal) in the journal "Corriere del giorno", October 21 1971, the Signalist Manifestation I have organised in Belgrade as an international exhibition of experimental poetry probably due to insufficient knowledge of language.
[3] This could be translated as "book of the artist". The following phrases are used as well: "book as work of art" ( G. Celan) and "bookwork".According to the opinion expressed by Ulises Carrion critic and mail-artist in his essay The New Art of making Books, (see Second Thoughts, Void, Amsterdam 1980, pp 6-22), a book is not only a box containing words and even less a "luggage with words". A book might as well exist as an autonomous self sufficient form, including maybe the text, but the text which emphasises the form, the text which is an functional part of that form. In traditional literature says Carrion the writer writes a text. This text (poetry or prose) ignores completely the fact that the book is not only a carrier of words, but an independent space-time sequence. In the new art, a writer does not write a text, he produces a book.Richard Kostelanetz, American poet, critic and avant-garde artist joined this effort to define new a artist book (bookwork). In his essay Book-Art he determines the new book, book as art work, as "imaginative book" as well.According to Kostelanetz sentences in a conventional book are arranged in rectangular blocks, uniformed looking like soldiers in battle. In the imaginative book an effort is made to do something with syntax, format, pages, cover, form, size, sequence, structure, binding, i.e. with all the elements which should be changed to create a somewhat different book. This artist says that the artists book is produced with the aim to communicate by imaginative phenomena, "in this way something completely different from the experience of reading is created.
[4] About mid 1972 Guillermo Deisler, visual artist and athologist from Chile, sent me from Atofagasta a letter and a short review of Fortan. This review was later translated and published in the book Signalism in the World (edited by M.B. Šijakovic), Belgrade 1984.In this text Deisler sees Fortran in the following way:"Application of the punched cards, previously treated by a computer, as pages of a signalist book brings us a series of meanings from the world in which we transform ourselves into figures, codes which should be "read"; world of programming, punching, interpreting of data; world which is discovered from research of numerals produced by a machine able to achieve even the most complicated operations with the speed of light as an only restriction.This is not a protest, it is simply stated. There are hand written characters on these cards, graphism of Todorovic, in a justaposition which shows a paradox of our personal existences which are confined in a very complicated world full of contradictions. We are there discovering ourselves capured in the network of speech from the simplest family or individual decissions to the moment in which our choice turns into something unpredicted."(See Guillermo Deisler: Fortran - Signalist Book by Miroljub Todorovic, "Signalism in the World", p 18.)
[5] On the occasion of this stamp and its message, on of our critics states that it represents a real "mini manifesto of signalism" and that the receipt of a card with this stamp excites and inspires him whenever he receives it. On the other hand, Radivoj Cveticanin would note somewhat cynically and humorously in his text Signals above Poetry, Omladinske novine" No. 34, July 6 1974:"Do not be surprised if one day a postman would leave a post card with one single gentle command "Think about Signalism", in your post box.First and natural question after arrival of such mail would be - What does Signalism want again. Those who are informed know about the "aggressiveness" of this movement in modern art creation; postcard which is usually mailed to such people, bothers them. It reminds that one should think about Signalism without interruption as was the case with "Prodixan" at certain time.
[6] Later (1979) I would make my second stamp with the text of Jubilee character: SIGNALISM 1959 - 1979 Think about signalism.
[7] Proceedings was published by Daylight Press in 1976, on the occasion of STAMP ART SHOW exhibition (where material from the proceedings was represented) in the bookstore Other Books and So, Amsterdam, from April 27 to May 1976.
[8] Some of the treated photocopies are mentioned by Dr Marvin Sackner, known American collector of concrete and visual poetry, in the Catalogue of his Archive."TODOROVIC, MIROLJUB, photocopies in envelope, signed and inscribed to Avalanche Magazine".According to the date, Sackner purchased these photocopies from the journal Avalanche in 1983. (See catalogue The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry 1984, p.811).Photocopy of the text Cosmic Hieroglyphs (different variations) with caption Signalist Project, was published (the list is not complete) in the following publications:-Jan Chwalezyk: COUNTERPOINT, Wroclaw 1972 (Besides Cosmic Hieroglyphs one work from the series The Eye, gestual poem Lunar Sign, two letters from the series Signalist Communication and the manifesto Communication - entity - thought, in English).- J.H. Kocman: LOVE, Brno 1972.- Ida Biard: FRENCH WINDOW, Paris 1972-1973.- Bill Vazan: CONTACTS, Montreal 1973. (Besides a photocopy of Cosmic Hieroglyphs, postcards Cosmic Communication and Gordian Knot were published as well as a part of gestual poem Lunar Sign.
[9] Official fine art critic, (even the one which gravitated towards SKC) has of course avoided this exhibition. Three shorter notes were published (in Politika on February 26 and 27 and Ekspres politika on February 27 1973 entitled Communication. Belgrade Student published on March 13 1973 with a title Reinvestigations a very brutal attack against the exhibition and my creative work on the whole and even the gallery itself because of the exhibition. The attack was signed by pseudonym Ivan Fazetna.It is interesting that Felipe Ehrenberg registered the exhibition, i.e. its catalogue in the English avant-garde journal Contexts No. 5, 1973.[10] Official fine art critic, (even the one which gravitated towards SKC) has of course avoided this exhibition. Three shorter notes were published (in Politika on February 26 and 27 and Ekspres politika on February 27 1973 entitled Communication. Belgrade Student published on March 13 1973 with a title Reinvestigations a very brutal attack against the exhibition and my creative work on the whole and even the gallery itself because of the exhibition. The attack was signed by pseudonym Ivan Fazetna.It is interesting that Felipe Ehrenberg registered the exhibition, i.e. its catalogue in the English avant-garde journal Contexts No. 5, 1973.
[11] Material from the exhibition and the manifesto Communication - entity - thought itself, translated into English, were published in the following publications (incomplete data):- Clive Robertson: A CONCEPTOGRAPHIC READING OF OUR WORLD THERMOMETER, Calgary 1973. (Two works from the series The Eye and the Manifesto were published. The whole material was shown on Canadian television.)- SIGNIFYING, Kyoto, Japan 1974. (Communication - entity - thought, in English, new improved translation).- ORGON No. 3, Madrid 1977. (The Eye with the text from the catalogue, about the eye, in English and Spanish).-DOC(K)S No. 12, Paris - Ventabren 1978. (Communication - entity - thought, in English).Foreign critics and theoreticians cited and commented on the Manifesto. Klaus Groh cited it and took it as a basis for a debate about Signalism in his essay Miroljub Todorovic and Signalism. Based on the statements from this manifesto, in his essay Particulars and Convergence in Signalist Poetic Matteo D'Ambrosio established that Signalism approached conceptual art. (See these texts in the book Signalism in the World, Belgrade 1984.)
[12] Besides these printed postcards I produced by photographic technique 250 copies of a series of eight picture postcards. On these picture postcards there were parts of visual poem Labyrinth (from the book Kiberno 1970), Lunometre, With strawberries I will tell you or robin in the cage, Alphabet, and a visual poem which will later be published in the book Algol (1980), in which all these poems will be published joined to the cycle of permutational poetry Winter snow runs the horse.Visual poems (parts of poems) from the picture postcards were published in the following journals, catalogues and anthologies:- MIX MAGAZINE No. 6, Woleville, Canada 1974.- FUNF OSTERROPPAISCHE KUNSTLER, Institut fur Moderne Kunst, Nurneberg, 1975.- Joseph M. Figueres, Manuel de Seabra: ANTOLOGIA DA POESIA VISUAL EUROPEIA, Lisabon 1977.- DOC(K)S, No.12, Paris - Ventabren 1978.- KALDRON No. 11, Grover City, USA 1980.- INTERSTATE No. 14, Austin 1981.- NEMEZETKOZI, "MAIL ART" KIALLITAS (catalogue), Budapest 1984.- Andrej Tisma: PRIVATE LIFE (catalogue), Novi Sad 1986.
[13] Jun Muzukami: POST DOCUMENTS, Nagoya 1975. (Emblem of Signalism, Lunometre, Gordian Knot and Signalist manifestation with the text "Fragments on Signalism" were published). Fernando Millan, Jesus Garcia Sanchez: LA ESCRITURA EN LIBERTAD, Madrid 1975. (Lunometre was published).Besides previous the postcards were published in the following:- MIX MAGAZINE No. 3, Saskatoon, Canada 1973 (Emblem of Signalism and Gordian Knot).- MIX MAGAZINE No. 5, 1974 (Signalist Project Cosmic Communication).- Terry Reid, Gwen Stainton, Geoff Tenant: MASK PRODUCTION, Mildura, Australia 1976. (Signalist manifestation).- Walter Zanini, Julio Plaza: POETICAS VISUAIS, Sao Paulo 1977. (Signalist manifestation).- Romano Peli: MANTUA MAIL, Mantua 1978. (Signalist Project Cosmic Communication).- SPRACHEN JENSEITS VON DICHTUNG, Munster 1979. (Anagrams and Gordian Knot).- VERICALISMO No. 21/22, Catania 1982. (Signalist Project Cosmic Communication).- Julian Kornhauzer: TRAGARZE ZDAN (antologia mlodej poezji serbskiej), Krakow - Wroclaw 1983. (Alphabet together with picture postcards Labyrinth, Winter snow runs the horse and five other visual poems).
[14] In this period I participated in many projects and numerous exhibitions of mail-art in the world. List of these exhibitions together with collective exhibitions of concrete and visual poetry is found in my book Algol, Belgrade 1980 and in the catalogue Mail-Art, Belgrade 1981.
[15] Here are the names of only few authors and book titles:J.H. Kocman: CHROMATOGRAPHIC BOOK, Yutaka Matsuzawa: VANISKINGS (1922 - 1975), Richard Kostelanetz: AD INFINITUM - A FICTION, Bogdanka Poznanovi_: STELLATA, Endre Tot: EXERCISE, Luciano Ori: LOVE STORY, Robert Filliou: DEBUT ET FIN D'UN LIVRE SANS FIN, Klaus Groh: RELATIVITIES, Ken Friedman: COMPLETITION BY KEN FRIEDMAN, etc.
[16] This Canadian critic would later publish an essay about Signalism and Signalist Documentation Centre in the journal Mexican Art Magazine (October 1982), using the pseudonym Dave Oz. It is interesting that he internationalises my term signalism in this text, i.e. he tries to include mail-art in it. This is not accidental. About seventies David Zack sent me his works (visual poems and drawings), by cordiality of Klaus Groh, with the note that they are signalist works. So Zack was the firs and only author (artist) who joined Serbian (Yugoslav) avant-garde movement Signalism.
[17] Enzo Minarelli analises Communication in the text Poetic of Communication (see the book Signalism in the World p.47).
[18] This French journal, that I have wrote about separately (see Knjizevna rec, July 10 1979), besides visual poetry paid special attention to mail-art. The whole issue of Doc(k)s (December 1978) would be devoted to mail-art, and later, in the next issues, Julien Blaine, its founder and editor in chief, will regularly devote more than tens of pages for publishing mail-art works. Blaine will not stop at this, already in 1979 he will organise a very successful mail-art exhibition Expediteur ... Destinaire Paris, in the Paris gallery "Lara Vinci". Catalogue of this exhibition is in a fact a box including works of participants, reproduced on postcards. So, each participant received a post card with his work.Among mail-art actions and exhibitions by the end of seventies it is necessary to emphasises and mention Cabaret Voltaire, publication which is edited and published by Steve Hitchcock from San Diego. I participated with several works in two topical issues of this publication MISTAKES & ERRATA (1977) and NEW MUSIC INTERNATIONAL (1978).Spanish avant-garde artist Mata organised successfully presentation of mail-art in Madrid and Segovia in 1978 with the name Black on White. At the same time Judith Hoffberg and Joan Hugo pointed out artist' books in the frame of mail-art by the exhibition Artwords and Bookworks in Los Angeles and later in New York, Indianapolis and New Orleans, in the "museums without walls", as they say.Ken Friedman and Mike Crane, are most deserving for organising the exhibition Lifhtworks Envelope Show in July 1978 in Ann Arbour, and later in May 1979 in Detroit. The journal Lightworks, sponsor of this exhibition printed a special catalogue with theoretical supplements by Friedman, Crane and Charlion Burch, addresses and selected works of certain participants. Two of my visual poems are published in this catalogue which was itself designed in the form of an elongated mail envelope.
[19] Part of this mail-art material was published in my book Knockdown, Belgrade 1984.
[20] Kornahuzer will express his opinion about mail-art in the section Gestual poetry of the same study:“Iconography of pop-art, related in some extent to visual poetry was replaced by communication sphere of conceputalism which took advantage of all the results and projects, exhibitions, systems for registering the nature (seismic records, encephalograms), instructions, collections of slogans, final prints. Therefore, citing Zmegac, everything that we could at the beginning mark as discovered texts, or everything that imitates them. This includes as well mail-art (communications with different contents sent to persons chosen by the artist), initiated by Japanese Kavara (from New York), who in 1968, informed daily receivers of his postcards and telegrams at what time he wakes up. Signalist manifestation of Todorovic is the same kind of communication action. These manifestations are based on presenting a series photocopied envelopes, letters and postcards sent to his address by avant-garde artists from all over the world. Todorovic’s “book” named “Fortran”, Belgrade 1972, produced of six white used computer cards in 47 copies can be included in mail-art. Data about the author are on the first card, certain interventions performed by marker are on the following four, and the stamp of the review Signal is on the last card with the authors signature and number of the copy. Fortran was mailed to 47 artists. Artistic material applied by a conceptualist is only a carrier of a priori established idea. This statement is important since most of the conceptualist achievements apply linguistic texts which could point out their natural connection with literature (i.e. poetry. When we have posed a question in this way, we have not made our task easier. In fact, Todorovic’s achievement Cosmic Hieroglyphs (series of photocopied articles from Belgrade Politika about the destiny of space ship Pioneer flying towards planet Jupiter), with smaller interventions - underlined text by marker, lines - is nothing but linguistic (completed) text, but first: Todorovic is not its author, and second: it is not the text which is important but the manner how it is applied. This, for example, refers as well to Kosuth’s definition exhibited in the gallery. There are no deformed verbal signs here, as in the concrete poetry, but complete texts having a meaning. Still they participate in the action, artistic manifestation, they do not have their ordinary meaning (definition of art, cosmic expedition out of solar system), but mark as well the communication which represents antiaesthetic reaction against conventional art. It seems here that a different articulation of treated texts is in question. Term from the dictionary, fragment of an article as well as authors instruction are transferred in the same way as ready mades from their context (Encyclopaedia, newspapers, preparatory phases for artistic reality.
[21] As mentioned previously, besides long ago deceased writers and leaders, postcards were sent to at that time still living eminent writers: Marko Ristic and Miroslav Krleza. Postcard Communication sent to Marko Ristic with the address Pariska 12, Belgrade returned with a note unknown. Postcard sent to Miroslav Krleza, Zagreb Augusta Senoe 15, with the stamp THINK ABOUT SIGNALISM, did not return. I suppose that was the only card from this series that was delivered to the receiver.
[22] This issue appeared in book stores only in May.
[23] Right after appearance, Delo with mail-art as an attractive phenomenon of avant-garde art would be reviewed in our papers. Notes were published in vecernje novosti (May 21 1980), Politika (May 24 1980, with several mail-art contributions) and Prosvetni pregled (May 30 1980). Ranko Igric and Milorad B. Pavlovic made more extensive reviews of the anthology in Oko(July 24 1980) and Omladinske novine (May 24 1980) respectively.
[24] This will be noted as well by Denis Poniz, poet and critic from Slovenia in his review of this book, entitled Signal Art in Knizevne novine No. 627 on June 4 1981."Since the book was printed in silk screen technique, in black colour, some of the most successful projects look like graphics. The new book of this artist has appears unified and its special value is certainly that it is the first book by a Yugoslav author devoted completely to mail-art."It is interesting that Poniz equalises here mail-art and concrete poetry:"Mail-art is a form of concrete poetry, which the author most frequently created, in the shape of postcards, and sent by mail."Poniz developed further his attitudes. (See section entitled "Concrete poetry and mail-art" in his study Concrete Poetry , "Literary Lexicon", Vol. 23, Drzavna zalozba Slovenije, 1984.)
[25] Branko Cegec Booking of Mail consignments, "Oko" No. 235, 19.03.1981. My polemic texts written on that occasion, see in the book Step za sumindere Belgrade 1984, pp. 7-11.[26] Poet Ivan Jelicic Merlin wrote a most confusing and very superficial review with similar amateur comprehension of mail-art as "private correspondence", in Revija No. 3, Osijek, Svibanj-Lipanj 1982.In his half illiterate text this reviewer even asks in one moment "what the poet really wanted to say":" ... a question arises, what one would like to say, what is the moral, what is wanted to be built, ruined, excluded."
[27] Timotijevic published this text in Omladinske novine No. 295 (May 23 1981) untitled Djuro javi se, with reproductions of postcards mailed to Djura Jaksic and Vojislav Ilic, and one work from the series Think about Mail-Art.
[28] MAIL ETC, ART: on introduction by Jim Field, in the catalogue Mail etc., Art, Art, p.19, University of Colorado, Boulder 1980.
[29] When dealing with artists' book and Italians it is important to state the following. A complete history of what the Italians name "la poesia visiva" is given in the extensive catalogue LA POESIA VISIVA (1963 - 1979), Firenza 1980, (editors Gillo Dorfels, Vittorio Fagone, Filiberto Mena, Ermano Migliorini and Luciano Ori). In the catalogue, besides the reproduction of the front page of the anthology Concrete, Visual and Signalist Poetry,"Delo" No. 3, 1975, p.148, Section "Libri", numbered 373 it is written: "Miroljub Todorovic, THE TOWN, Belgrado 1975, 8.3x18.8 cm pp 10. Esemplare unico." I would now like to have look at this artists' book, to see what it was made of and what this Town, that I have completely forgotten, looks like. The book is probably owned by Luciano Ori, since among other mentioned editors I was in contact only with him and Gillo Dorfles.
[30] In the same issue (12) a stamp with the countenance of avant-garde artist Chuk Stake was published as well.
[31] Hubert Kretschmer: Whaat are Artist's Books?, Catalogue LLIBRES D'ARTISTA/ARTIST'S BOOKS, "Metronom, Barcelona 1981, p.25.
[32] Jose Luis Mata: Empiric Manifest, same catalogue pp 28-29.
[33] Guy Schraenen: The Book of an is Artist is a Work of Art., Same, pp30-31 (All the texts in the catalogue are printed in Catalan and English).
[34] Guy Bleus would later have a few more projects. On of them was WORLD ART ATLAS 1983 (exhibition and catalogue). My work is reproduced rather poorly in this catalogue, I do not have its photography nor a photocopy. In September 1984, this Belgian artist edited and published Commonpress No. 56. In this issue, besides a very instructive essay about mail-art, he published as well a retrospection of the journal Commonpress (1977-1984),and the works of the participants in the exhibition Aerogrammes, that he organised in meantime. All the works, as Bleus underlines, more than 800 pages in A format, are transferred on four microfilms size 10.5x15 cm (standard size of a postcard) and attached to Commonpress.
[35] One of my works from the series Think about Mail-Art is published in the catalogue. The same work is reproduced as well in the catalogue of my exhibition Mail-Art (Happy New Art Gallery, 1981), and later, somewhat changed and complemented with artistic stamps, in the book Knockdown (1984) on page 98. One of the works from this series was published the same year in the French journal Sphinx No.14/15, Hiver (Winter) 1981, p.21.
[36] Note that this is just a partial description and list since a rigorous selection was done.
[37] See the texts Signalism and Zenitism, "Gradina", No.18, 1980 and Signalist Painting, proceedings Signalism Avant-garde Creative Movement, Belgrade 1984.
[38] I would participate a few times in Golden Pen Zlatno pero (invited) and in 25th October Salon, 1984.
[39] Zoran Markus, IZBOR'82, cataloge of the exhibition, Art pavillion "Cvjeta Zuzoric", 1982.
[40] I published a work created especially for the occasion, from stamps THINK ABOUT MAIL-ART, in the catalogue of the first exhibition. Part of the work Signal Art was published in the catalogue of the second one.
[41] Two Artists' Postage Stamps are published in the catalogue.
[42] Already mentioned Canadian artist and critic David Zack is hiding behind this pseudonym. As mentioned previously Zack/Oz is trying, in his text, to expand the term signalism to mail-art on the whole, and it is evident that he considered mail-art as one of the signalist activities.Zack/Oz explains his attitude more explicitly in the text Report about Signalist Action, in which he writes about the work of Lona Spiehelman, known American mail-artist, as signalist activity and about him as a signalist artist.(See Mexican Art Magazine, October 1982).
[43] In reviews of Signal Art exhibition, Zoran Markus (Politika, October 26 1984), Dusan Djokic (Borba, October 26 1984) and Balsa Rajcevic (Knjizevna rec No. 244, November 1984), among other subjects write separately about mail-art.
[44] I participated in this project with, certainly more recent signalist book FORTRAN. Data concerning biography with notes about exhibitions, photography of the book and its description are on pages 1266-1269 in the catalogue.
[45] In his text Historical Sources of New Creativity ("Knjizevna rec", No. 220, 10. XI 1983 and in NOMADS of BEAUTY) pp. 17-23, Zagreb, 1988) Aleksandar Flaker would note the following:"If avant-garde called today "historical", although its heritage in different forms still causes resistance whenever public assembly occurs around theatrical or cinematography achievements of its premises, if avant-garde nurtured on one side literature in collage form and on the other "picture poetical" efforts of visualising verbal texts, then it is evident that we have inherited these intentions of new syncretism which also demands strongly new communication routes outside institutional aesthetic space. When we receive today Lunometre (1969-70) or Cosmic hieroglyphs (1972) on postcards sent by Miroljub Todorovic, this must remind us of the times when Oskar Kokoska produced (lithography) and distributed his coloured picture postcards in Wienar Werkstatte (1908), Franc Mark arranged his mail-art for printing, and Kruconih Russian author of "subconscious" verse published a series of 12 picture postcards painted by brothers Mihail and Ivan Larionov, and Natalija Goncharova."
[46] Zivkovic is one of the first critics who performed deeper critical aesthetic analysis of the mail-art phenomenon in our culture. According to him: "It was frequently emphasised in literature that mail-art is the art adequate with our moment of civilisation conceptually as well as by means of achievement, and that it marks transfer of art (classical understanding of the word art) into communication media. More complete description of mail-art can be achieved in reference to social circumstances as well as formulation of its basic poetic principles on the basis of concrete creative practise, i.e. analysis of achieved works.(Zivan Zivkovic: Mail-art - Art of Communication,, Proceedings of the works of Pedagoska akademija za vaspitace, No. 8, Belgrade, 1984.)Zivkovic will practically demonstrate his attitude by analysing "Unsuccessful Communication":"Besides different definitions of mail-art, it is not difficult to understand the "Unsuccessful Communication" as art which is materialised in something different, not only in the act of "institutionalising mail exchange" as Jean Marc Poinsot said. In the complex of signalist research, mail-art "committed violence" against audience (receivers), the same way as other forms of art work when pushing back others, but since in the case of Todorovic "violence" failed (receivers do not exist), the total of the poetical action of the "Unsuccessful Communication" is demonstrated in communication of the author with the Post Office, i.e. poets acceptance of all the rules and constraints of the system (postal) applied, leaving traces (stamps, notes, etc.) as return information on the postcards. From this, twofold conclusion can be drawn: post office is the basic means (transmission) for sending messages in mail-art, but with Todorovic, it is something more than that, because it enables appearance of so called unintentional contents, unintentional news on the mail, as official signatures, stamps, notes, time, etc."
(Zivan Zivkovic: More than a Game, in the book Orbits of Signalism, Belgrade 1985, p.24.)

SIGNALIST DOCUMENTATION CENTRE

Signalist Documentation Centre was founded in 1970, immediately after numerous contacts with a large number of avant-garde artists from all over the world had been established and the first voluminous parcels had arrived: books, journals and other information material. Upon arrival (journals, catalogues, books, postcards, letters, photographs, objects, records, original work of art, cassettes, etc.) documentation was partly classified and registered in some volumes of the International Review for Signalist Research SIGNAL. But, generally the material still remained unsorted, in a state of a dynamic or, more precisely, creative chaos.
One of the basic aims of the Centre is, for sure, collecting and saving signalist documentation and works (papers) concerned with signalism and avant-garde creative movement which originated and developed in Serbian culture and was active in the broad Yugoslav space*. There is quite a lot of such material and it has already been used for a doctoral thesis Signalism: Genesis, Poetics and Artistic Practice, written by Zivan Zivkovic assistant (now professor) at the Faculty of Philology, who obtained his doctoral degree at the same faculty in April 1991. Yet, as quite logical a great deal more documents (books, journals, catalogues, etc.) refer to European and world avant-garde from the seventies and eighties, especially Visual Poetry** and Mail Art. One may freely say that the main contents of the Signalist Documentation Centre, is in fact formed of publications which in a way represent these two artistic forms and artifacts connected or directly concerned with them.
The material which has arrived to the Centre comprised mainly works, books, catalogues mainly sent by artists who themselves wished, first of all, to contribute in the review SIGNAL*** . This journal has achieved remarkable recognition within international avant-garde circles in the beginning of the seventies.
A great number of works and other documents was obtained due to calls for anthologies that I composed for magazine Delo no.3, 1975. and Mail Art - Mail Poetry, Delo no.2, 1980.
Cooperation and exchange with other archives and similar centres was established. In the beginning and mid seventies, most successful communication was with neo-Dadaist centre and archives of avant-garde artist Klaus Groh, who later became a professor in Oldenburg (Germany). Here, one should also mention The Jean Brown Archives, Tyringham, Massachusets, who specialized in Dadaism and Surrealism but contains avant-garde works from the period after Second World War, as well: Lettrism, Concrete Poetry, Fluxus, Happening, Pop-art and Conceptual Art.
There existed an interesting and fruitful exchange of information and publications with Sohm Archive which emphasized its rich collection of the Fluxus movement and Happenings as its specialty and published a significant monograph Fluxus and Happenings in 1970. The owner of this archive, Hans Sohm, was especially interested in collecting documents and other material concerning signalism and Yugoslav avant-garde on the whole. Since about ten years ago, this archive has become part of the Statsgalerie in Stuttgart.
One of the largest archives, if not the largest, specialized in Concrete and Visual Poetry (with a separate section devoted to Mail Art) is the Ruth and Marvin Sackner Archive of Concrete and Visual Poetry in Miami Beach, Florida. Up to my knowledge, the most complete and best presentation of Signalism abroad is found in the Sackner Archive.

*
Quite a number of Signalist publications was donated to the Library of Serbian Academy of Sciences and Arts which formed a legacy in the end of 1988. More information about this legacy registered as no. PB19 can be found in Special Libraries in the Library of Serbian Academy of Sciences by Dr Tatjana Filipovic-Radulaski, Bibliotekar No.3-4, July-December 1989, pp 63-64.
A fund of Signalist Editions was established in the Library at the Faculty of Philology, Belgrade, in 1991.
Towards the end of 1992, a large number of books and other material were given to the library of Matica Srpska, it is being classified and saved as a separate library collection named Neo-avant-garde - Documentation of Miroljub Todorovic. More detailed information about this library is found in the following: N.Popov, Secrets of Signalism (New collection in the Library of Matica Srpska), Dnevnik, 21. January 1993. and R(adivoj) D(oderovic) Neo-avant-garde - Documentation of Miroljub Todorovic, in BMS, Vesti (Journal of Matica Srpska Library) No. 3, January 1993.
On September 19th., 1994., a contract was signed with the National Library “Stevan Sremac” in Nis on founding a donation Signalism - Special Fund of Miroljub Todorovic, in memory of Nadezda (Nadica) Todorovic. Special value of this donation compared to those already mentioned, is that, besides books, journals, catalogues etc. it will comprise manuscripts, original works (Visual Poetry, Mail art), photocopies and originals of letters and other documents concerning Signalism as Serbian (Yugoslav) creative movement. (See the paper V.P., Valuable Gift, Narodne Novine, 20. September 1994, Nis.

**
See more about Visual Poetry in my books Signalism, Nis 1979. and Diary of Avant-garde, Belgrade 1990. as well as in the books by Zivan Zivkovic: Orbits of Signalism, Belgrade 1985, Testimonies about Avant-garde, Belgrade 1992, Signalism: Genesis, Poetics and Artistic Practise, Paracin 1994 and in the book: Essays about Signalism by Ljubisa Jocic, Zemun 1994.

***
That is how visual poems (drawings) were obtained from Raoul Hausmann, founder of the Berlin Dada (1918) and discoverer of photomontage. Already very old, few months before his death (February 1971), he sent two original works to be published in Signal. For more information about this event see my text Raoul Hausmann in Signal, Diary of Avant-garde pp. 10-13.

(From the book PLANETARY CULTURE, 1995)

Biography

MIROLJUB TODOROVIĆ, Serbian poet and artist, was born 1940. in Skoplje. He graduated law at the Faculty of Law, University of Belgrade. He is the founder and theoretician of Signalism, an avant-garde literary and artistic movement, active in Serbian and Yugoslav culture, and editor in chief of the International review Signal. Upon his work there were published more than 2000 reviews, articles and essays in journals and magazines and 15 books. His work was also evaluated in three Ph.D. theses. The first one was presented by Dr. Ph. Julian Kornhauser, at University of Krakow, the Department of Yugoslavistics in 1980. The second was presented by Dr. Živan Živković, at University of Belgrade, the Department of Serbian 20th Century Literature in 1991. The third was presented by Dr. Ph. Milivoje Pavlovic at Megatrend University in Belgrade in 2002.

Poetry books:
Planet (1965), Signal (1970), Kyberno (1970), Trip to Astroland (1971), The Pig is an Excellent Swimmer (1971), Staircase (1971), Gift-parcel (1972), Certainly Milk Flame Bee (1972), Thirty Signalist Poems (1973), Bumpkin Shows off, (Slang Poetry,1974), TV Set to Stare at, (Slang Poetry, 1977), Insect on the Temple (1978), Algol (1980), Textum (1981), Brain Soup (1982), Chinese Erotism (1983), Knock-out (1984), A Day on the Hymen (1985), I Become Silent Horror Language Core (1986), I Mount Rosinante Again, (Selected Poems, 1987), Water-snake Drinks Rainwater (1988), Soupe de cervau dans l'Europe de l'Est (1988), St.Vitus Day (1989), Rzav River Neighs Happily (1990), His Thorn Red and Black (1991), Ambassador Dustbin, (Slang Poetry, 1991), Grill from Srem (1991), I Breathe, I Talk (1992), Rosy Lizard Runs Across the Rain (1994), Striptease, (Slang Poetry, 1994), Loud Frog (1994), Virgin Byzantium (1994), Storm Spittle (1995), Tzar Trojan’s Goat Ears (Gestual Poetry, 1995), Planet (1996), Ho (Slang Poetry, 1997), Electric chair (Slang Poetry, 1998), Stars' Trowel (1998), Prescription for liver inflamation (1999), Azure Dream (2000), Shot into Shit (2001), Speech Burning (2002), Phonets and Other Poems (2005), Parallel Worlds (2006), Blue Wind (2006).

Prose books: I Just Opened my Mail (epistolary novel, 2000), Walked Into my Ear (slang stories, 2005), Diary 1982 (2006), Window (Dreams, 2006), Slang Stories (2007).

Books of Essays, and polemics:
Signalism (in English, 1973), Signalism (1979), Zipper for Morons, (Settlement with False Avant-garde) (1984), Cocks from Baylon Square, (Settlement with Serbian Traditionalism, 1986), Diary of Avant-garde (1990), Liberated Language (1992), Play and Imagination (1993), Chaos and Cosmos (1994), Towards the Source of Things (1995), Planetary Culture (1995), Grammatology Thirst (1996), Signalism Yugoslav creative movement (in English, 1998), Miscellanea (2000), Poetics of Signalism (2003), Courses of Neo Avant-garde (2004).

Books for children:
Mouse in Kindergarten (2001), Crazymeter (2003).

Book-works:
Fortran (1972), Approaches (1973), Signal-Art (1980), Zlatibor (1990), Forest Honey (1992).

Anthologies (editor):
Signalist Poetry,( “Signal”, 1971), Concrete, Visual and Signalist Poetry, ("Delo", 1975), Mail Art - Mail Poetry, ("Delo", 1980).

One Man Shows:
Trip to Astroland, (Belgrade 1969), Trip to Astroland-Hotbed, (Niš 1969), Kyberno, (Belgrade 1969), Drawings, Signalist and Computer Poetry, (Novi Sad 1969), Signalist explorations 1.(Comunication, Eye), (Belgrade 1973), Mail Art, (Belgrade 1981), Think About Signalism, (Belgrade 1983), Signalist Research, Visual Poetry, Mail Art, (Vršac 1983), Signal Art (Retrospective Exhibition, Belgrade 1984), Conquered Space, (Belgrade 1994/95), Signalism, (San Francisco, 1997).

Awards: "Pavle Markovic Adamov" 1995 for poetry and life work; "Oskar Davico" for best book published in 1998 (Star's Trowel); "Todor Manojlovic" 1999 for modern artist's sensibility and "Vuk Aword" 2005 for exceptional contribution in Serbian and pan-Serbian cultural space.

Todorović took part in more than six hundred international collective drawings exhibitions of Concrete poetry, Visual Poetry, Conceptual Art and Mail Art.

THE WORKS OF MIROLJUB TODOROVIC

THE WORKS OF MIROLJUB TODOROVIC IN FOREIGN LANGUAGES AND
IN FOREIGN PAPERS, PERIODICALS, BOOKS, ANTHOLOGIES, COLECTIONS AND CATALOGUES

- Hymne de L'Universite rouge, (Koračnica Crvenog univerziteta), "Aktion", Journal edite par les jeunes du Camp de travail, avec l'aide du College Cevenel, 1968.
- Definierter Polizist (1, 13, 15), "Neue Texte", no. 5-6, novembar 1970, Linz.
- Poesia Signalista, (tekst na španskom i četiri vizuelne pesme), "Ovum 10", nro. 4, setiembre 1970, Montevideo.
- Signalistička pesma Ugljen-bilje, "Umdruck" no. 3/4, 1970, (Zeitschrift für internationale literatur), Nürnberg.
- Signalistička poezija, (plakat-pesma sa četiri vizuelne pesme), "Subvers" 1 (tijdschrift voor konkrete pöezie), oktober 1970, Ijmuiden, Holland, str. 53.
- Lavirint, (Le Labyrinth), "Cimaise" (Art et architecture actuels), sept. – oct. 1970, Paris.
- Signalist Poetry, u: Maurizio Spatola "Geiger/4 Antologia", Torino, 1970.
- Šest vizuelnih pesama, (iz zbirke "Kiberno"), "La battama", anno VII, numero 22'23, agosto 1970, Fiume.
- Kompjuterska vizuelna pesma, "La battana", anno VII, 22-23, 1970.
- Signalizam, "Signal" no. 1, septembar-oktobar-novembar 1970, Beograd.
- Mit nudeln natürlich, (Computerpoesie), "Signal" no. 1, 1970.
- Regulae poesis, (Fragments of an essay), "Signal" no. l, 1970.
- Themes for a general debate on Signalism, "Signal" no. l, 1970.
- Signalist Poetry, (Kontexts" no. 3, (An occasional review of concrete, visual, experimental poetry), Summer 1971, Whimple, Exeter, Devon, England.
- Signalism, (Recent Jugoslav activity), "Second Aeon" no. 4, Cardiff, 1971, str. 74.
- Signalist manifestation, "Second Aeon" no. 4, 1971, 74.
- Signalist manifestation, "Lotta poetica" no. l, giugno 1971, Milanino sul gard, Italia, Antwerpen, Belgija, str, 9.
- Lunometer, "Lotta poetica" no. 5, ottobre 1971, str. 5.
- Article Poem, "Lotta poetica" no. 7, dicembre 1971, str. 9.
- Vizuelni rad, (kompjuterska kartica), "Pro" 21, 1971, Düsseldorf.
- Signalist alphabet, "Bloknoot", 2e serie, nr. 4, december 1971, Arnhem.
- Einstein, "Bloknoot, 2e serie, no. l, januari 1971.
- Këngë sinjaliste I, "Bota e re" viti IV, nr. 39, e mërkurë, 7. IV, 1971, Priština.
- Signalist Poetry proper, (Visual Poetry), "Signal" no. 2-3, septembar 1971.
- Vizuelna pesma, "Uj Symposion", 78. szám, oktober 1971, str. 424.
- A Szignalismus, "Signal" no. 4-5, "Uj Symposion" 78, szám,
1971.
- Benim dallarim, "Tan", yil III, sayi 110, slali 23. XI 1971, Priština.
- Der Sieg, u: Klaus Peter Dencker "Text-Bilder Visuelle Poesie international" (Von der Antike bis zur Gegenwärt), Verlag M. DuMont Schauberg, Köln, 1972, str. 129.
- Anagramm, u: Klaus Peter Dencker "Text-Bilder Visuelle poesie international" (Von der Antike bis zur Gegenwart), Verlag M. DuMont Schauberg, Koln, 1972, str 129.
- Schlange, u: Klaus Peter Dencker "Text-Bilder Visuelle Poesie international" (Von der Antike bis zur Gegenwärt), Verlag M. Dumont Schauberg, Köln, 1972, str. 144.
- Signalist Poetry, u: Guillermo Deisler "Poesia visiva en el mundo", Ediciones Mimbre, La Universidad de Chile, Antofagasta, 1972.
- Vasionski hijeroglifi, u : Ida Biard "French window", Paris, 1972-1973.
- Vasionski hijeroglifi, u: J. H. Kocman "Love", Brno, 1972.
- Gdy bede reprezentantem Anglii w pilce noznej, "Literatura na swiecie", nr. 3 (11), marzec 1972, Warszawa, str. 57.
- Gwiazdogorod, "Literatura na swiecie", nr. 3 (11), marzec 1972, 58.
- Niepogoda, "Literatura na swiecie", nr. 3 (11), marzec 1972, 59.
- Signalist Project 1, 2, u katalogu "Súm á listhatid i Reykjavik", Reykjavik, juni-júli 1972.
- Signalism, "The Bridge" (Literary review" no. 31/32, Zagreb, 1972, str. 81-86.
- der regenwurm, u: Peter Urban "Himbeeren sind himbeeren sage ich" (Junge Lyrik aus Jugoslawien), Regensburg, 1972, 51.
- seestern, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, str. 52.
- der bandwurm, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 53.
- die termiten, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 54.
- ich werde eine kellerassel, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 55.
- bin ich das, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 56.
- waschen wir insere interwäsche, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 57.
- das ist eine art urtier, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 58.
- polizei pädagoge, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 59.
- ich habe mich doch nie bei newton und einstein beklagt, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 60.
- in belgrad trotzkij, u: "Himbeeren sind himbeeren sage ich", Regensburg, 1972, 61.
- Listopad, "Glas stoczniowca", XXIII, str. 45, /1238/, 10. X 1972, Gdańsk, Gdynia, Szczecin.
- Hydrogenium, (Signalist Poetry), "Labris", n. 2, april 1972, Lier, str. 40.
- Carboneum (Signalist Poetry), "Labris", n. 2, april 1972, Lier, str. 40.
- Oxygenium, (Signalist Poetry), "Labris", n. 2, april 1972, Lier, str. 40.
- H2O, (Signalist Poetry), "Labris", n. 2, april 1972, Lier, str. 41.
- CH4, Signalist Poetry), "Labris", n. 2, april 1972, Lier, str. 41.
- Signalist Project, (Kosmički hijeroglifi), u zborniku Jana Shwalczyka "Kontrapunkt", Wroclaw, 1972, (bez paginacije).
- Oko-Eye, u zborniku Jana Shwalczyka "Kontrapunkt", Wroclaw, 1972, (bez paginacije).
- Signalist communication, u zborniku Jana Shwalczyka "Kontrapunkt", Wroclaw, 1972, (bez paginacije).
- Mesečev znak (Lunar Sign), u zborniku Jana Shwalczyka "Kontrapunkt", Wroclaw, 1972, (bez paginacije).
- Communication – Being – Thought, u zborniku Jana Shwalczyka "Kontrapunkt", Wroclaw, 1972, (bez paginacije).
- Die Gedichte durch eine spezielle matematishe Tafel…, u: Klaus Groh "Aktuelle Kunst in Osteuropa", Verlag M. Dumont Schauberg, Köln, 1972.
- Probiert den mist (34, 40, 49), u: Klaus Groh "Aktuelle Kunst in Osteuropa", Verlag M. Dumont Schauberg, Köln, 1972.
- Alfabet, u: Klaus Groh "Aktuelle Kunst in Osteuropa", Verlag M. Dumont Schauberg, Köln, 1972.
- Lunar Sign, u katalogu "Wij Hebben ook ideeen", New Reform Agency, Aalst, Belgija, 1973.
- Lunar Sign, "Bloknoot 8", 3e serie, no. 3, december 1973, Arnhem.
- Dve kompjuterske vizuelne pesme u katalogu "Experimenta", Galeria de Arte Daniel, Madrid, 1973.
- Metaphysical Poem with Water, Earth, Air and computer cards, u časopisu "AB", The Poetry Society, july 1973, London.
- Amblem signalizma, "Mix Magazine" no. 3, aug-sept. 1973, The Art department, University of Saskatchewan, str. 27, Saskatoon, Kanada.
- Gordian knot, "Mix Magazine" no.3, aug-sept. 1973, str. 28.
- Annagrams (Think about Signalism), "Mix Magazine" no. 4, oct-nov-dec. 1973, str. 5.
- Signalist Poetry, "Und", 11-12, mai 1973, Gersthofen, Nemačka.
- Lunometer, u: Richard Kostelanetz "Breakthrough Fictioneers" (an anthology), Something Else Press Inc, Barton, Brownington, Berlin, 1973, str. 133-140.
- O poeziji signalisticznej, "Litery", XII, nr. 5 (137), 1973, str. 22.23, Gdańsk.
- Signalist Project (Vasionski hijeroglifi), u zborniku "Contacts" (1971 – 1973), Vehicule Press, Montreal, 1973. (Bez paginacije).
- Gordian knot (postcard), u zborniku "Contacts" (1971 – 1973), Vehicule Press, Montreal, 1973. (Bez paginacije).
- Lunar Sign, u zborniku "Contacts" (1971 – 1973), Vehicule Press, Montreal, 1973. (Bez paginacije).
- Approaches (četrnaest vizuelnih pesama objavljenih u knjižici formata 7,5x10,5 cm), ed. no. 25, I.A.C., Oldenburg, 1973.
- Communication – Being – Apprehension, u zborniku "A conceptographic Reading of Our World Thermometer", W.O.R.K.S. Calgary, Canada, 1973, str. 52.
- The Eye, u zborniku "A conceptographic Reading of Our World Thermometer", W.O.R.K.S. Calgary, Canada, 1973, str. 52.
- Metaphysical Poem with Water, Earth, Air and computer cards, u: Richard Kostelanetz, Henry Korn and Michael Metz "Forth Assembling" (A collaborative anthology), Assembling Press, New York, 1973.
- Gestualna pesme, "Litery", Rok XII, nr. 1 (133), 1973, Gdańsk, str. 27.
- Ajnštajn (vizuelna pesma), Poezija, n. 3, marzec 1973, Warszawa, str. 51.
- Poéme objet, "Opus International", 40/41, 1973, str. 27, Paris.
- Vasionski hijeroglifi, "Mix Magazine", no. 5, jan-feb-mar. 1974, str. 18, Wolfville, Nova Scotia, Canada.
- Lunometer, "Mix magazine", no. 6, june 1974, str. 6, Wolfville, N. S. , Canada.
- Vizuelna pesma (portret sa kompjuterskim karticama), u zborniku "Utopia" no. 4, editor Walter Focke, Oldenburg, 10. nov, 1974.
- Vizuelna pesma, u zborniku "Off limits" no. 2, editor Walter Focke, march 1974, Oldenburg.
- Communication – Being – Thought, u katalogu "Sygnifying", The Kyoto Municipal Museum of Art, Kyoto, november 1974, str. 144.
- Lunar Sign (Mesečev znak), u katalogu "Signifying", The Kyoto Municipal Museum of Art, Kyoto, november 1974, str. 144b.
- Signalism, "Relations" (Literary review), 1974, Beograd.
- Signalist poetry (sedam vizuelnih pesama), "Relations” (Literary review), 1974, Beograd.
- Lunar Sign (Mesečev znak), u katalogu "Prospectiva", Museo de Arte contemporanea da Universidade de Sao Paulo, Sao Paulo, 1974.
- The Defined Policeman (1, 2, 3, 31, 32, 33), "Tam Tam" no. 10-11-12, rivista trimestrale di poesia, edizioni Geiger, ottobre 1975, str. 103-105, Mulino di Bazzano (Parma).
- Vizuelna pesma, u zborniku "Etc" no. 5, editor Walter Focke, 16. mai 1975, Oldenburg.
- Lunometer, u: Fernando Millán, Jesus Garcia Sánchez "La escritura en libertad" (Antologia de poesia experimental), Madrid, 1975, str. 163.
- Zeleni vetar (gestualna i objekt poezija) u : Fernando Millán, Jesus Garcia Sánchez "La escritura en libertad" (Antologia de poesia experimental), Madrid, 1975, str.227.
- Dve vizuelne pesme (iz ciklusa "Sjaj ćirilice"), u : G. J. de Rook "Anthologie visuele poëzie" (Visual Poetry Anthology), uitgeverij bert bakker, den Hag, 1975, str. 198-199.
- Snake (Zmija), u : Alan Riddel "Typewriter Art", London Magazine editions, London, 1975, str. 50.
- Lunometer, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Signalist Visual Poetry, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Signalist manifestation, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Algol – Lavirint, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Lunar Sign, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Gordian knot, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Signalist gestual poetry, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Communication, u: Mitteilungen des Instituts für moderne Kunst, nr. 11, April 1975, Nürnberg, (bez paginacije).
- Communication, u zborniku "Portrait of ...", 1975, Sunderland, England, str. 72.
- Signalist manifestation, u katalogu "Massk Production", Mildura Art Centre, Mildura, Victoria, Australia, 1976.
- W Belgradzie, "Novi wyraz", V, nr. 3 (46), marzec 1976, Warszawa, str. 54.
- Tylko ja wyleguje sie došć dlugo, "Novi wyraz", V, nr. 3 (46), marzec 1976, Warszawa, str. 54.
- Communication, u katalogu "Step ahead in Shimizu ‘76", Shimizu, Japan, 1976.
- Fragments on Signalism, u zborniku "Post documents" (75’ fall with/in Nagoya; concept work), Nagoya, 1976, str. 82.
- Signalist Documentation Centre (postcard), u zborniku "Postdocuments" (75' fall with/in Nagoya; concept work), Nagoya, 1976, str. 83.
- Gordian knot (postcard), u zborniku "Postdocuments" (75' fall with/in Nagoya; concept work), Nagoya, 1976, str. 83.
- Lunometer, u zborniku "Postdocuments" (75' fall with/in Nagoya; concept work), Nagoya, 1976, str. 83.
- Signalist manifestation (Gestual Poetry), u zborniku "Postdocuments" (75' fall with/in Nagoya; concept work), Nagoya, 1976, str. 83.
- Visuele poëzie in Joegoslavië (Verschijning en ontwikkeling), u: G. J. de Rook "Historiche anthologie visuele poëzie", Rijkscentrum Hoger Kunstonderwijs, Brussel, 1976, str. 55-57.
- Einstein, u: G. J. de Rook "Historiche anthologie visuele poëzie", Rijkscentrum Hoger Kunstonderwijs, Brussel, 1976, str. 54.
- Rubber Stamps, u antologiji G. J. de Rook-a "Stamp Art", Daylight press, Amsterdam, 1976.
- Wiersz wizualny, "Literatura na swiecie", nr. 9 (65), 1976, Warszawa, str. 360.
- Lunometer, "Osteuropa", 27. Jahgrang, no. 1, januar 1977, Berlin, str. 59.
- Lunometer, u: Joseph M. Figueres, Manuel de Seabra "Antologia da poesia visual Europeia", Edditorial Futura, Lisboa, 1977, str. 63.
- Anagrama, u: Joseph M. Figueres, Manuel de Seabra "Antologia da poesia visual Europeia", Edditorial Futura, Lisboa, 1977, str.155.
- The Eye, "Orgon", núms 2/3, sábado 1977, Madrid, str. 25.
- Signalist manifestation (Gestual Poetry), u katalogu "Poeticas Visuais", Museo de Arte contamporanea da Universidade de Sao Paulo, Sao Paulo, 1977.
- Actialités (šest vizuelnih pesama), "Doc/k/s", no. 9, décembre 1977, Ventanbren-Paris, str. 56-61.
- Vizuelna pesma u zborniku "Mistakes-Errata", Cabaret Voltaire no. 2, San Diego, 1977.
- Vizuelna pesma u zborniku "New Music International", Cabaret Voltaire no. 4, San Diego, 1977.
- Vasionski hijeroglifi (postcard), u katalogu "Mantua Mail '78" (Esibizione internazionale di mail art), Casa des Montegna, Mantova, 1978, str. 141.
- The Drawing – Completion test, Cabaret Voltaire, no. 3, Spring 1978, San Diego.
- Black on White, (vizuelna pesma) u katalogu "Black on White", La casa del Siglo XV – Atelier bonanova, oct. 21-nov. 8, 1978, Segovia, Španija.
- Cher ami, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 5.
- L'avant-garde en Yugoslavie, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 6—8.
- L'espace le temps, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str.50.
- La victoire, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 51.
- Poemes computer, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 52.
- Poemes geométriques, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str.53.
- ABC, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 54.
- Poesie objet, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 55.
- Noeud gordien (poème gestuel), "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 56.
- Poesie objet, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 57.
- A plus haute voix, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 58.
- Fragments en Signalism, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 93.
- Communication – Being – Thought, "Doc/k/s", no. 12, été 1978, Ventabren-Paris, str. 94-95.
- Post carde (Carte postale), "Doc/k/s", special post card, Mail Artists in the World, décembre 1978, Ventanbern-Paris.
- Vasionski hijeroglifi (četiri vizuelne pesme), u: "Poesia e prosa delle avangardie", Factotumbook 1, Lotta Poetica 1971-1975, edizioni Factotum-art, Calaone-Baone (PD), 1978.
- Sanjam sen, u: Antologija konkretne in vizualne poezije (priredio Denis Poniž), Mladinska knjiga, Ljubljana, 1978, str. 82.
- Pesem, u: Antologija konkretne in vizualne poezije (priredio Denis Poniž), Mladinska knjiga, Ljubljana, 1978, str. 87.
- Ubih, u antologiji Aleksandra Petrova New –Serbian Poetry/La nouvelle poesie Serbe, "Relations", Beograd, 1978, str. 103.
- Einstein, u antologiji Aleksandra Petrova New –Serbian Poetry/La nouvelle poesie Serbe, "Relations", Beograd, 1978, str. 103.
- Vuzuelna pesma (Znaćete sve o nama), "Recorder", The University of Sydney Union, Art core Meltdown, Sydney, 1979.
- Vizuelna pesma (dete nad pisaćom mašinom), u: Mike Crane "Contens: objects, piles and Boxes", Sacramento, 1979.
- Alphabet di Miroljub Todorović (Sulla nuova funzione dell'arte...( u katalogu "Itinerrari per una alfabetizzazione" (rassegna di poesia visuale, scrittura, poesia sonora), Bondeno, agosto 1979.
- Vizuelna pesma, u katalogu "Itinerrari per una alfabetizzazione" (rassegna di poesia visuale, scrittura, poesia sonora), Bondeno, agosto 1979.
- Signal Art (vizuelna pesma, postcard) u katalogu "Destinataire Paris" "Doc/k/s" spécial post card, Ventabren-Paris, 1979.
- Dve vizuelne pesme u katalogu "Lightworks Envelope Show", Lightworks Magazine, An Arbor, 1979.
- Vizuelni rad u: "I. D. S Mr. ReeeeSearch Continued", Richard Art hambelton Investigation Department, New York, 1979.
- Pesma o prostoru (Poem about Space), u knjizi "Visual literature criticism" (A new collection), edited by Richard Kostelanetz, New York, Edmonton, Alberta, 1979, str. 139.
- Tylko ja wileguje sie došć dlugo, u: Julian Kornhauser "Zasadnicze trudności", Warszawa, 1979, str. 56.
- Vizuelna pesma u katalogu "Oggi poesia domani" (rassegno internazionale di poesia visuale e fonetica), Fiuggi, 1979, str. 22.
- Signalist book Cobol, u: "Liber" (pratica internazionale del libro da'artista), -Factotumbook 24, Verona, 1979.
- Vasionski hijeroglifi (Signalist Project) u katalogu: "Mail, Etc. Art" (a traveling correspondence art exhibition), University of Colorado, Boulder, 1979, (bez paginacije).
- Signal Art, Mail Art, Think about Mail Art (artists postage stamps) u katalogu: "Mail, Etc. Art", (a traveling correspondence art exhibition), University of Colorado, Boulder, 1979, (bez paginacije).
- Fragment on Signalism, "A critical (ninth) Assembling", 1979, New York.
- Signalist Poetry, "A critical (ninth) Assembling", 1979, New York.
- Anagrams, u katalogu "Sprachen jenseits von Dichtung", Vestfälischer Kunstverein Münster, 1979, str. 138.
- Gordian knot, u katalogu "Sprachen jenseits von Dichtung", Vestfälischer Kunstverein Münster, 1979, str. 139.
- Artists Postage Stamp, u: E. F. Higgins "Nudes on stamps", Commonpress 18, august 1979, New York.
- Think about Mail Art (via air mail), u katalogu "Multimedia internacional", Universidade de Sao Paulo, novembro-decembro 1979, Sao Paulo.
- Think about Mail Art, "Orworks", 22-23-24, Sunderland, England, 1980.
- Algol, "Kaldron" (a journal of visual poetry and language), Glover City, USA, 1980.
- Lunomer, "Kaldron" (a journal of visual poetry and language), Glover City, USA, 1980.
- Signal Art, u katalogu "Mislaid information" (mail-art", Wagga Wagga, Australia, 1980.
- Vizuelna pesma u katalogu "Poesia visiva", Il Centro culturale, Nuovo Ruolo, Forli, 1980.
- Artist's Postage Stamps u: Nicola Frangione "Zen and Art", Commonpress 26, Monza, 1980, Italia.
- Think about Mail-Art (Artist Postage Stamp), u: Nicola Frangione "Snapshot", mail art international, alternative art magazine, 2, 1980, Monza.
- Vizuelna pesma u "Ruins", Commonpress no. 25, january 1980, editor Ellen Gilmor, Cedar Rapids, Iowa, str. 7.
- Gestische Gedichte, u katalogu: "Vom aussehen der wörter" (visualle poesie – notationen), Kunstmuseum Hannover mit sammlung Sprengel, Hannover, 1980, str. 162.
- Objekt Gedichte, u katalogu: "Vom aussehen der wörter" (visualle poesie – notationen), Kunstmuseum Hannover mit sammlung Sprengel, Hannover, 1980, str. 162.
- Einstein, "Slavisk Kulturrevy", nr. 1, 1980, Stockholm.
- Think about Mail Art, u katalogu: "Exposicio de tramesa postal/Mail Art exhibition", octobre-noviembre 1980, Barcelona, str. 60.
- Vizuelna pesma, u: Gillo Dorfles, Vittorio Fagone, Filiberto Menna, Ermanno Migliorini, Luciano Ori "Poesia visiva" (1963-1979), Vallechi, Firenze, 1980.
- Cu trăitei negresit (2, 3, 6, 30, 32, 41), "Lumina" XXXIV, nr. 3, 1980, str. 220-222, Pančevo.
- Think about Mail-Art, "Sphinx", no. 14/15, hiver 1981, Beaugency, France, str. 21.
- Lunometer, u: Giuseppe Bedeschi, Paolo Ponzi "Graphic – writing", Studio '79, Lugo, 1981.
- Think about Mail-Art, u katalogu "48226", A mail art show, Detroit Focus Gallery, 1981, str. 14, Detroit.
- Signal Art (na mikrofilmu), u: Guy Bleus "Are you experienced". Wellen, Belgija, 1981.
- Think about Mail-Art, (Rubber Stamp), u: Peter Jörg Splettstösser, "Stempel Zitat", Bremen, 1981.
- Think about Mail-Art, u katalogu "XVI Bienal de Sao Paulo (Arte Postal)", Sao Paulo outubre-dezembro 1981.
- Dzdžovnica, u: Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 82.
- Motyl, u: Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 82.
- Odkrywanie planety, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 110.
- To jest i moja reka..., Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 110-111.
- Mija swoje lady, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 117.
- Swinia jest swietnym plywakiem, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 117.
- Ostrzegam mleko, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 122.
- W miedzi rozgwiezdzonej, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 122.
- Jak wiatr znad Moravy, u: Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 123.
- King size, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 129.
- Tywy, Julian Kornhauser "Sygnalizm – propozicja Serbskiej poeziji eksperymentalnej", Universytet Jagielloński, Kraków, 1981, str. 133.
- Fortran (Llibre original, 8 pàg. – 8x19 cm.), u katalogu "Llibres da'artista/ Artist's Books", octobre-novembre 1981, Metronom, Barcelona, str. 117.
- Lunometer, "Interstate", 14, 1981, Austin, Texas, str. 1.
- Artist's Postage Stamps¸u zborniku "Timbres da'artistes mail-art", Lausanne, 1982.
- Think about Mail-Art (rubber stamp), u zborniku "Robert Quercus", editor D. Jarvis, London, 1982.
- Visual Poem, "Kaldron" (a journal of virtual poetry and language art) no. 15, 1982, Grover City, USA.
- Think about Mail-Art, "Verticalismo", trimestrale, n. 21/22, anno VIII, magio 1982, Catania, str. 14.
- Think about Mail-Art, u katalogu "International mail art exhibition of visual message '82", Kwan hoon museum of fine Art, Seoul, 1982.
- Ruka, (dve vizuelne pesme), u katalogu "Arms", Cincinnati, Ohio, 1983.
- Odkriwanie planety, u knjizi Juliana Kornhausera "Wspólny jezyk", Katovice, 1983, str. 174-175.
- To jest i moja reka i moj miecz (15), u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 175.
- Myja swoje lady, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 184-185.
- Swinia jest swietnym plywakiem, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 185.
- Na pragu wyspy, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 191.
- Ostrzegam mleko, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 192.
- W miedzi rozgwiezdzonej, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 192.
- Jak wiatr znad Moravy, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 193-194.
- Bacaju vunu blinderi (Zlodzieje przestaja sie bać), u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 197-198).
- Ljubiti, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 206.
- Blebetati, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 211.
- Zvizni, u knjizi Juliana Kornhausera " Wspólny jezyk", Katovice, 1983, str. 211.
- Vizuelna pesma u zborniku "World Art-Atlas", priredio Guy Bleus, Turnout, Belgija, 1983.
- Signal Art, "Clinch" no. 3 (Visual Poetry), Geneva, 1983.
- Dve Artist's Postage Stamps u knjizi Petera Küstermanna "Kein Krieg in meiner Stadt", Peter-Rump-Verlag, Bielefeld, 1983.
- Mail Art, Signal Art, Think about Mail Art (Artist's postage stamps), u: "Post Arte", edicion especial, no. 10-11, Mexico, dic. 1983.
- biegnewytrwalbiegnemartwy, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983 (na koricama).
- Wiersz wizualny, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 30.
- Kupujcie wylacznie poezije sygnalistyczna, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 31.
- Prepagujemu swoich Miroljubów Todoroviciów, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 32.
- Miroljub Todorović zajmuje skrajne subjektywna postawe, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 33.
- Jak wiatr znad Moravy, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 34.
- Przerwa, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 35.
- Kocham, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 36.
- Telefon, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 37.
- Widelec, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 38.
- Lalka, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 39.
- Z poematu komputerewego ("Oczywiscie mleko plomien pszcala", 16, 17, 18, 19), u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 40-41.
- (Zadania), u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 42.
- Myja swoje lady, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 43.
- Z cyklu Insekt na skroni, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 44.
- biegnewytrwalebiegnemartwy, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 45.
- Jezyki, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 46.
- Z poematu Podróz do Gwiazdonii, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 47.
- Wiersz wizualny II, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 48.
- Wiersz vizualny III, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 62.
- Wierz wizualny IV, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 79.
- Wiersz wizualny V, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 97.
- Wiersz wizualny (Alfabet), u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 114.
- Wiersz vizualny, u: Julian Kornhauser "Tragarze zdań" (antologia mlodej poeziji serbskiej), Kraków-Wroclaw, 1983, str. 162.
- Signal Art, u katalogu: "The last Seoul International Mail Art Exhibition", march 1983, Seoul.
- Signalist drawings, u katalogu "International drawing exhibition", Korean culture – Arts fondation Gallery, march 1983, Seoul.
- Signal Art, u katalogu: "Visioni Violazioni Vivisezioni" (segnisuoni della poesia contemporanea), Bondano (Ferrara), 1983.
- Vizuelna pesma, u katalogu: "Visioni Violazioni Vivisezioni" (segnisuoni della poesia contemporanea), Bondano (Ferrara), 1983.
- L'essere Signalista è un essere del futuro..., u katalogu: "Visioni Violazioni Vivisezioni" (segnisuoni della poesia contemporanea), Bondano (Ferrara), 1983, str. 54.
- Socles abandonnes, "Doc/k/s", no. 60, hiver 1983/84, Ventanbern-Paris, str. 222-227.
- Think about Signalism, "Doc/k/s", no. 60, hiver 1983/84, Ventanbern-Paris, str. 264-266.
- Vizuelna pesma, u katalogu "Nemzetközi mail art kialitas", Budapest, 1984, str. 52.
- Signalist Project (Cosmic Communication), u: Michael Crane and Mary Stofflet "Correspondence Art", Contemporary Art Press, San Francisco, 1984, str. 43.
- Communication . Being – Thought, u: Michael Crane and Mary Stofflet "Correspondence Art", Contemporary Art Press, San Francisco, 1984, str.162-163.
- Signal Art, u katalogu "Mail Art", Wiener secession, Wien, 1984.
- Trip to Starland (Signalist Poetry), u katalogu "Objet cultuel" (Mail Art), Premontres, France, 1985, str. 24.
- The moons sign (Signalist Poetry), u katalogu "International Artist's Postage Stamps", Museum für moderne Kunst Weddel, 1985.
- Trip to Starland (Signalist Poetry), u katalogu "International Artist's Postage Stamps", Museum für moderne Kunst Weddel, 1985.
- Think about Mail Art, u katalogu "International Artist's Postage Stamps", Museum für moderne Kunst Weddel, 1985.
- Miroljub Todorović toma posturas extremadamente subjectivas, u: Branislav Prelević "Veintitres poetas de Belgrade", Relations, Beograd, 1985, str. 34.
- Signalistické anagramy, "Nový život", ročnik 37, čislo 1, januar 1985, Novi Sad, str. 55-57.
- Fortran (Signalist book, 1984, - 5 bl. – 18,7x8,3), u katalogu "Artist's books" (Künstler bücher, Buchobjekte) Universität Oldenburg, 1986, Oldenburg, str. 1266-1269.
- Think about Signalism (Razmišljajte o signalizmu), u katalogu "L'exposition internationale 'Le coctotier' ", Noumea, Nouvelle Caledonie, mai-juin 1986, str. 27.
- Signalist landscape (collage), u katalogu "Paisatge", Exposicio internacional de mail art, Museum Comarcal de la Garrotxa (Girona), Španija, 1987.
- Cher Julien, Doc(k)s, Nouvelle serie, numero 0, hiver 1987/88, Ventabren-Paris, str. 90.
- Vizuelna pesma (Tolstoj), Doc(k)s, Nouvelle serie, numero 0, hiver 1987/88, Ventabren-Paris, str. 91.
- Vizuelna pesma (Chinese erotism), Doc(k)s, Nouvelle serie, numero 0, hiver 1987/88, Ventabren-Paris, str. 92.
- Vizuelna pesma (Vizental u akciji), Doc(k)s, Nouvelle serie, numero 0, hiver 1987/88, Ventabren-Paris, str. 93.
- Vizuelna pesma u knjizi "To live in negative utopija", editor György Galántai, Buda-Ray University, Artpool, Budapest, 1982-1987.
- Di nuovo monto sulla sella di Rosinante, "Artists Arti segrete" (Riviata della ricerca e della creazione nelle arti), Anno I, n. 2-3, gennaio-giugno 1987, Roma, str. 82.
- Otto secoli dopo, "Artists Arti segrete" (Riviata della ricerca e della creazione nelle arti), Anno I, n. 2-3, gennaio-giugno 1987, Roma, str. 83.
- E quest' allodola che entra volando, "Artists Arti segrete" (Riviata della ricerca e della creazione nelle arti), Anno I, n. 2-3, gennaio-giugno 1987, Roma, str. 84.
- La ninfee verdi dell' Australia, "Artists Arti segrete" (Riviata della ricerca e della creazione nelle arti), Anno I, n. 2-3, gennaio-giugno 1987, Roma, str. 84.
- Signal Art, u katalogu "Bélyeg képek", Szémpüvészti Múzeum, május-szeptembar 1987, str. 23.
- Soupe de cerveau dans L'Europe de L'Est (devetnaest vizuelnih pesama), u: "Zerroscopiz", edition Népe, Ventabren, France, 1988. (Isto kao posebna knjiga u: "New collection zerosscopiz 845", Ventabren, 1988.
- Poesia visual na Iugoslavia, u katalogu: "I mostra internacional de poesia visual de Sao Paulo", Centro Cultural, Sao Paulo, 1988, str. 65-67.
- Visual Poetry in Yugoslavia, u katalogu: "I mostra internacional de poesia visual de Sao Paulo", Centro Cultural, Sao Paulo, 1988, str.145-147.
- Anagrams, u katalogu: "I mostra internacional de poesia visual de Sao Paulo", Centro Cultural, Sao Paulo, 1988, str.104.
- Algol (vizuelna pesma objavljena u obliku postcard), u: "Poemas visuais/Visual Poems", Arte Pau – Brasil, Livraria e editora ltda, 1988.
- Kelioné i žvaigždynus, u: "XX A. Serbu poetai" (1945 – 1985 m. Serbu poezijos antologija), Vilnus, 1988, str. 260-262.
- Aštuoniems amžiams praejus, u: "XX A. Serbu poetai" (1945 – 1985 m. Serbu poezijos antologija), Vilnus, 1988, str. 262-263.
- Apie Saule, u: "XX A. Serbu poetai" (1945 – 1985 m. Serbu poezijos antologija), Vilnus, 1988, str. 263.
- Vėl sėdu and Rosinanto, u: "XX A. Serbu poetai" (1945 – 1985 m. Serbu poezijos antologija), Vilnus, 1988, str. 263-264.
- Think about Signalism (Razmišljajte o signalizmu), u knjizi "Editing Beckett", Walker Art Center, Minnesota, center for Book Arts, Minneapolis, 1988.
- Voyage d' Adriano Spatola, "Doc/k/s", Nouvelle serie, numero 5, automne 1989, str. 103.
- La dernier poeme concreta, u katalogu: "La poésie visuelle à travers le monde, A.G.R.I.P.P.A., Marseille, 1989, str. 75.
- Signal Art, "Rays, Strahlen" (Bulletin of the Writers Association of Vojvodina), autumn 1989, Novi Sad.
- Think about Mail Art, "Rays, Strahlen" (Bulletin of the Writers Association of Vojvodina), autumn 1989, Novi Sad.
- Vasionski hijeroglifi, "Novy život", no. 12, 1989.
- Cu trăitei negresit (2, 3, 6, 30, 32, 41), Ramuri, octombrie-noiembrie 1991, Craiova.
- Eufemia's icon, u: Irena Kostić, Slobodan Vuksanović "Pesma o Kosovu/The Poem of Kosovo" (Contemporary Serbian Poetry), "Vidici", SKZ, "Jedinstvo", Beograd, 1991, str. 105.
- Vizuelna pesma iz "Algola", u: Szombathy Bálint: "Uj idök müvészet", Forum, Ujvidek, 1991, str. 93.
- La merda é uno strumente dell' universo (Govno je instrument univerzuma), La Valisa, anno XII, n. 36, dicembre 1993, Bari, str. 25-26.
- Non capisco (Ne razumem), La Valisa, anno XII, n. 36, dicembre 1993, Bari, str. 26-27.
- Signal Art, La Valisa, anno XII, n. 36, dicembre 1993, Bari, str. 27.
- Signalist documentation centre (postcard), La Valisa, anno XII, n. 36, dicembre 1993, Bari, str. 28.
- Il nostro unico amico fu un pappagallo (Naš jedini prijatelj bio je papagaj), La Valisa, anno XII, n. 36, dicembre 1993, Bari, str. 27.
- Signalist manifestation, u katalogu "Jugoslavian Networkers", Stamp Art Gallery, San Francisco, 1996, str. 42.
- Signalizam – Signalism (1959-1979), u katalogu "Jugoslavian Networkers", Stamp Art gallery, San Francisco, 1996, str. 42.
- Signalist documentation centre (postcard), u katalogu "Jugoslavian Networkers", Stamp Art Gallery, San Francisco, 1996, str. 43.
- Think about mail Art, u katalogu "Jugoslavian Networkers", Stamp Art Gallery, San Francisco, 1996, str. 43.
- Miroljub Todorović zaujimá krajně subjektivni stavoviska, u: "Nekonečný modravý kruh" (Antologie srbske moderni poezie), Brno, 1996, str. 156.
- Signalist documentatiojn centre, "Axle" (monthly newsletter for concrete, visual, action, photo and sound poetries), issue 31, dec. 1996, Richmond, Victoria, Australia.
- Signalist documentation centre (postcard), u katalogu "Osteuropa Mail Art im internationalen netzwerk", Staatliches Museum, Schwerin, 1996, str. 18.
- Signalist documentation centre, "Signal" no. 11-12, 1996, str. 50-52.
- Signalist work, u: Julien Blaine "Les Ambassadeurs", V. A. C., editions Népe, Ventabren-Marseull, 1997, str. 39.
- Vizuelna pesma na koricama knjige pesama Takeoka Norio "Viagem sem fin" (Traducao por Teresinka Pereira), International Writers and Artist's Association, Bluffton, 1997.
- Investigator and Interpreter, "Signal" no. 15-16-17, 1997, str. 23-24.
- Planetary communication, "Signal" no. 15-16-17, str. 56-70.
- Tri vizuelna rada (vizuelna poezija, mejl-art) u: "The Stuff of magic", editor Dr. Teresinka Pereira, Bluffton, USA, 1998.
- Space – Time – Substance (1964), u antologiji "Poesia Totale" (1897-1997: del colpo di dadi alla poesia visuale) a cura di Enrico Mascellone e Sarenco, Mantova, 1998, str. 1091.
- Lunometer (1969/70), u antologiji "Poesia Totale" (1897-1997: del colpo di dadi alla poesia visuale) a cura di Enrico Mascellone e Sarenco, Mantova, 1998, str.1092.
- Apeiron (1972), u antologiji "Poesia Totale" (1897-1997: del colpo di dadi alla poesia visuale) a cura di Enrico Mascellone e Sarenco, Mantova, 1998, str. 1090.
- Tri vizuelne pesme u antologiji: Dmitrij Bulatov "Točka zrenija. Vizuelna poezija: 90-e godi", Kaliningrad, 1998, str. 502-504.
- Spiritually inspired painting, u katalogu Margarete Stanojlović "Marguerite's Garden", Galerija Kolarčeve zadužbine, Beograd, 1998.
- A World of metaphysical serenity, "Signal" no. 18, 2998.
- Signalism Yugoslav creative movement, Beograd, 1998, str. 1-196.
- Vizuelna pesma u: Guy Bleus "Poesia visiva (Net Poetry) – Gezele" (1899-1999), CD-ROM, Culturcentrum Brugge, Belgija, 1999.
- On Space and motion (3), u: Miloslav Šutić "An Anthology of modern Serbian lirical Poetry" (1920-1995), "Relation", Beograd, 1999, str. 201.
- In a shower of stars on the clay wet, u: Miloslav Šutić "An Anthology of modern Serbian lirical Poetry" (1920-1995), "Relation", Beograd, 1999, str. 202.
- Most a Szignalizmus évszáda következik (intervju), Orbis, IV, br. 2-3, 1999, str. 40-43, Kanjiža.
- Miroljub Todorović rendkivül szélsöséges állás foglal, Orbis, 2-3, 1999, str. 44.
- The Russian neo-avantgarde, "Signal" no. 19-20, 1999, str. 3-4.
- Poets, Artists, Networkers!, "Signal" no. 19-20, 1999, str. 91.
- Firenca, u: Gane Todorovski, Paskal Gilevski "Srpskata poezija vo XIX i XX vek", Matica makedonska, Skopje, 2000, str. 385.
- Bilkata, u: Gane Todorovski, Paskal Gilevski "Srpskata poezija vo XIX i XX vek", Matica makedonska, Skopje, 2000, str. 385-387.
- Third millenium spirituality, "Signal" no. 21, 2000, str. 59.
- Vizuelna pesma u časopisu "Kairan" 4 (Mail Art Forum), str. 43, Kangawa-ken, Japan, 2001.
- Vizuelna pesma u katalogu "Visual Poetry" (Mail Art project by Luc Fierens), galerij c. de vos, Aalst, Belgija, february-march 2002.