During the upper Paleolithic period people, perhaps Neanderthals, painted thousands of figures in caves and it is now being suggested that they also had musical and dancing rituals in these places which would have been lit only by the flicker of torches. And recently it has also been suggested that, as well as being religious rituals, these events might have been some of the beginnings of such things as theatrical displays and multidisciplinary art. Since then many forms of mixed media activities have occurred although, as these media became more refined, the combining of these media often became more limited. So, for example, when moveable type was invented the interweaving of the words of a manuscript and the visual material became more separate from each other. Nevertheless, these combinations of language and visual material have never been completely eradicated and concrete poetry is one of the more recent manifestations of this. I started specifically examining visual/verbal interfaces around 1960, before I was much aware of what else had happened in this field. I did, however, have some sense that there were great possibilities here and this encouraged me to pursue an open ended approach, which has remained of interest to me . I was aware of a number of instances of writing and visual material being combined such as in the work of the Noranges Poets, the Dada poets and painters, Mark Tobey, Zao Kou Ri, William Hogarth, and Henri Michaux. Then, soon after that, a number of strong intimations started to emerge that this interaction of art and writing was, sooner or later, going to have to be accepted in the “arts” as it was being integrated into the spheres of “entertainment” and general expository materials. So then the question was, how was this going to happen? What forms would these interactions take? I tried to imagine, conceptualize and/or simply make such material and this moved me to start playing with several formats or styles. These approaches included a range of forms from illuminations to more modern abstraction both in writing and art, through examinations of typography and attempted interpretations of Dada and Constructivist pieces. Another factor here, which appears to have helped bring about the growth of the little magazine movement and which also encouraged me to start make small books, is that the media, the methods of reproduction, in the shape of photocopy machines, arrived at just this point in time so that it was finally possible to make inexpensive copies of this material. Thus I started, mainly on my own, in 1961, but soon I received inspiration, and encouragement from bill bissett, and a bit later from bpnichol, and david uu harris. Then, quite quickly after that, we became aware of a variety of new manifestations of these ideas appearing elsewhere. bill bissett first published blew ointment press in 1963 and bpnichol’s and David Aylward’s magazine, ganglia press, started in 1965. Since then, over the years, so many people have inspired me that I will not try to mention any more of them here. SEE LEX IONS (selections) is a selection of my work from 1968 to the present day. This collection is not in a completely chronological order and it is not devoted to one style in particular although there are several formats to which I continue to return. My involvement with art, writing and visual poetry has mainly been of an experiential nature and so I have continued to examine a variety of ideas as one thing suggests another. I find myself pushed by my curiosity to want to find the next step in regard to doing such things as putting together unusual combinations of letters or ideas or visuals on a page. And I keep on finding these interactions of the visual and the verbal and their multiple combinations and permutations to be very interesting.