BibliozinePartI

Bibliozine #1 (June 1992)
John Held Jr., Editor.
PO Box 410837
San Francisco CA 94141
USA

Bibliozine is an irregular periodical that is published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have material that may be of interest for the project, please send it to the above address. In return you will receive acknowledgment in the forthcoming book and an author's discount.

Artist Periodicals and 'Zines in the Modern Realism Archive.
ABC No Rio; About Drawing (Poland); Ack's Wacks; Aerial Print (Japan); Aerosal (Belgium); Afzet (Holland); Ah! L'Arte Postale (Italy); all genre; Amok; Anarchy Journal; Annie's Communication; Anti-Isolation; Anti-Social; Antivalues (Poland); APA Eros; AQ; AR/280; ARLIS Newsletter; Art and Artists; Atalaya; Art Attack; Art Com; Art Brigade; Art Contemporary; Art Documentation; Art Works; Art Zoo; Arte Arte (Italy); Arte Postale (Italy); Art Forum International (Poland); Artistamp News (Canada); Artists Alliance Revue; Artists Newsletter (England); Artpaper; Artpapers; Artpolice Express; Arts Dallas; Ask Ling; Assembling; AU (Japan); Bad News Bingo; Bag Art (France); Banal (England); Banana Rag (Canada); Ben is Dead; Better Marking; Beyond Baroque; Beyond Midnight; BILE; Blammoroots; Bloated Tick; boing-boing; Box of Water; Brain Cell (Japan); Bread Doll Fancier; Le Brulot (France); Bull Dada; C-Nile; Camolawa-Pish (Chile); Capilano Review (Canada); Care; C(art)a (Venezuela); Cassette Mythos; Catalejo (Chile); Catch-Up Files; Character Disorder; Circolo Pickwick (Italy); Circular; Circus Bee; Cirque Divers (Belgium); Clarke A. Sany Newsletter; Class War (England); Clear; Clinch (Switzerland); Commonpress (International); Community Television Review; Convolutions (Australia); Correspondence Novels (Mexico); Cosmic Glue Review; Copy (Japan); Copy-Left (Switzerland); Couch Potatoe; Crash Personal Stamps (Italy); Crash Update (Italy); Crazy Old Poets Magazine; Creatif Art Review (Belgium); The Creative Discourse; Cult Comix; Cultural Democracy; Curios Thing (England); D'Ars (Italy); Dallas Arts Review; Data File; De Media (Belgium); Delo (Yugoslavia); Depressed; Devil/Paradis (Belgium); Devil's Playground; Diary of Neo-Psychedelic Man; Die Katastrophe (Germany); Do Wonders Invention Manual (England); Doc(k)s (France); The Document; Documents (France); Dogs Without Cars; Doo Dah Florida; Dreamtime Village; Dumb Fucker; Duplex Planet; Eat it Up; The Edgar Allen Poe Messenger; Ego (Japan); Einai Aypio (Greece); El Djarida (Norway); El Gallo Iauareso (Mexico); Electronic Cottage; 11X30; Entartete Kunst; Ephemera (Holland); Eyrie (Germany); Face of the Congress; Factsheet Five; The Famalist; Famous for Fun; Farm Pulp; Fashion; Fast; Fiji Times; FILE (Canada); Flatiron Forum; Flatland; Florida Doo-Dah; Foist; Force Mental (Belgium); Format; 4-U-2 Post; Franklin Furnace Flue; Front (Australia); F�r Alle (Germany); The Gamut; Generator; Get; Giants Play Well in the Drizzle; Global Mail; Global Village Voice (England); Grafopublik (Yugoslavia); The Gulf Bulletins; Gummiglot's Weekly Reader; H23; Ham; Hapunkt Special (Germany); Haricoats-Verts; Hexagono (Argentina); High and Low; High Performance; Hoje-Hoja-Hoy (Argentina); Hot Flashes; I Hate You (Belgium); Ideology of Madness; Idle Time Mail Art; Idolise (England); Illuminati; Impossibilities; Impossible Utterences; Imps; In Remembrance; In the Arts; In the Mail; In Your Mail; Info-Mam (Belgium); Inform-A�ao-Cultural (Brazil); Instant Media Dispatch; Inter (Canada); interface; International Society of Copier Artists Quarterly; International Artists Cooperation (Germany); International Electrographic Magazine (France); Irregular Quarterly; It Still Doesn't Matter; It's the Andy Griffith Comic; Jackpot Years; Jukebox Headquarters (Germany); Kaldron; Kettel of Fisk; La Mamelle; La Langouste (France); Laughing Postman; La Regla Rota (Mexico); Le Timbre (France); Letter Exchange; Lettre Documentaire (France); Level; Libellus (Belgium); Licking Wounds; Life in Hell Times; Light of the He-Art (Croatia); Lightworks; Live from the Stagger Cafe; Lively Press; Lo Straniero (Italy); Lobotomia Action (Czechoslovakia); Local Post Collectors Society; Loompanics; Lost and Found Times; Lost Armadillos in Heat; LPDA Magazine (France); Lunatique (Belgium); Lund Art Press (Sweden); Lyrical Collages (Germany); MC; Madame X Gazette; Mambo Press; Mail Art Archive (Italy); Mail Art News (Germany); Mail Art Portraits (Ireland); MailArt Space International (Italy); The Maine Book Catalog/Sampler; Mall Life; Man and High Tech (Italy); Mani-Art (France); Margaret Freeman Digest (France); Maximumrocknroll; Maximum Traffic; mcard; Me; Megazine Buttetin (Belgium); Melmoth (Canada); Mente Locale (Italy); Metro Riquet (France); Minds Adrift; Minifictions; Mixed Media (Germany); Model Peltex (France); Modom; Mohammed; The Monthly: An Irregular Periodical; Monthly Journal; Moonhead News; MSRRT Newsletter; Mumbles in Love; Murder Can be Fun; Mxgxzine; My Secret Life in the Mail; Mystery Hearsay International; National Neographic; National Stampagraphic; ND; Nebuleux Gazine; Neither/Nor; The Neo (Canada); Neo-N-Ooze (Mexico); Netshaker; Network (Belgium); Network Times; Networking; Netzine; New Bulletin (Italy); New Lazarus Review; Newark Press; 925 (Australia); Nomo-the-Zine; Nostril; NYCS Weekly Breeder; O (Holland); O Dos (Uruguay); Occasional Tuesday Art News; Ocean Front (Canada); Off:Off (Argentina); Open Netmag (Germany); Open World (Yugoslavia); Or; Other Times; Our International Stamps/Cancelled Seals (Argentina); Ovum 10 (Uruguay); Oxidized Look; Panmag; Paper (Italy); Parallel-International Creative Magazine (Belgium); Parallelogramme (Canada); Parking Lot Reporter; Participacion (Uruguay); Pelo+Pelo (Italy); Pent Up Observations; Phosphorusflourish; Permit Patter; Perpetual Motion; Photostatic; Phrenquellonium; Planet Roc; Post Arte (Mexico); Po; The Poster; Postfluxpostbooklet (Belgium); Posthype; La Preciosa Natiava (Chile); Presents of Mind; Primal Plunge; Prole; Prop; The Pup; Public Property; Puncture; Punkomiks (England); Public Illumination; Pulse; Punta Cero (Chile); Push Machinery (Canada); Pyramid (Canada); Quack-Quack; Rant; Random Entry Comix; Raunch-O-Rama; Readymail (France); Real Correspondence (Italy); Real Fun; Real Life; The Realist; Reality Funnies; Red Dog Chop; Renife Art (France); Retrofuturism;Review for Everything (Germany); La Revista del Sur (Uruguay); Riporaity Folio (Holland); Riverside Art Scene; Ritchie's Video; Robert's Telling Tales; Roll Mag; Rubber (Holland); Rubber Fanzine; Rubber Maniac; Rubber Ratz; Rubber Stamp Folio; Rubberstampmadness; Salt Lick; Scarabeus (Canada); Scatter Balance; Schism; (S)crap; Scarborough Speaks (Canada); Score; Shots; Send; Shushma World; Sh'Wipe (Canada); Siapu; So Called (Holland); Secret Love; Shades of Grey; Shigeru Magazine (Japan); Shimu: No Text; Shredding Teeth; Shredding Trout; Slugnet; Smile; Smile (England); Smile (Germany); Smile (Holland); Smile (Italy); Smile (Mexico); Smile (Scotland); Smirk; Snack; Snarl (Italy); Soapbox Junction; Socks, Dregs, and Rocking Chairs; Something Else Press Newsletter; Il Soppalco (Italy); Il Sorriso Verticale (Italy); Sound Choice; The Sphinx; Spiegelman's Mailart Rag; The Spot; Square (Poland); Stamp; The Stamp Act; The Stamp Axe; Stampart; Stampola; Standard Catalouge Update; Stars and Types (Germany); Stark Fist of Removal; Stomp (Italy); Stress (Italy); Strippers's Lament; Student Artists Call; The Subliminal Chronicles; SUNY Buffalo Reporter; Sushi; Synthetica; Syzygy; Tamotsu Watanbe (Japan); Tattoo Journal; Temple Post (Belgium); Tempo (Germany); Testube; That Long Newspaper Spoon; Texas Arts Review; Thurds; Titmouse; TKA Comixs; Toad and Rice Weekly; Total (Yugoslavia); Tourism Review (Switzerland); Trax (Italy); Traveling Art Mail (Holland); Tribute to Plastic; Tropical Trousersnake; TV; TV Magazine; Twisted Imbalance; Two-Tons of Christmas Fun; U-Mak-It (England); Uni/Vers (Germany); Unmuzzled Ox; Unowned Worlds; (untitled); Umbrella; V-Tre; Vague; Vague(England); Varient (Scotland); Velocity; Version 90; Video 80; VILE; Void; Wall (Belgium); Wellcomet Bulletim (Brazil); Whap; What the Hell; White Walls; White Worm Review; The Wire; Word Works; The Works; Xero Post; Xerolage; Yawn; Your Scene; Zippily (Belgium); Znak (Yugoslavia).
Bold type represents periodicals with complete or substantial runs. Over 425 periodicals from twenty-six countries represented in the collection.

Bibliozine #2 (July 1992)
John Held Jr., Editor
Modern Realism Archive and Gallery
1903 McMillan Avenue
Dallas, Texas, 75206 USA

Bibliozine is an irregular periodical published in connection with research the editor is conducting for his new book, International Networker Culture: An Annotated Bibliography. If you have materials to donate that may be of interest to the project, please send them to the above address c/o Networker Culture. Especially interested in books and articles on cassette culture, zines, mail art, photocopy, electronic bulletin boards, fax, collaborative performances and groups, telemetrics, artistamps, rubber stamp art, etc. In return you will receive acknowledgment in the forthcoming book and an author's discount upon publication.

This issue's theme: Some Recent Reading:

(blurr, buZ).   Claxton, Clickety. "Who is Bozo Texino." Processed World. Number 29 (Summer/ Fall 1992). Pages 6,7,13, 14, 31,34, 61.

Article on Boxcar grafitti asks the question, "Who's writing these pictures? Tramps? Railroad workers?" Excellent photodocumentation of this elusive subject. Long time mail artist buZ blurr is singled out (sometimes anonymously) as one of the most active practitioners in the field. blurr was a participant of the May 2, 1992, Fax Congress at the Dallas Public Library and spoke, at a discussion of alternative cultural medias, on boxcar grafitti, as well as on his environmental installations and mail art activies.

James, Robin, editor. Cassette Mythos. Autonomedia, New York. 1992. 196 Pages.

When I saw this my eyes popped out. They shouldn't have had, because I had met fellow librarian Robin James at the Undercurrents show in Austin Texas last year, and he told me all about the forthcoming book. But he's done an outstanding job making sense of and compiling a great rooster of essays on all phases of the cassette distribution network. Of special interest to mail artists will be Minoy's essay, "Mail Art and Mail Music." Special section on networking with an article by Mike Gunderloy, "Networking in the Electronic Age." Other essays by Miekal And, Carl Howard, Al Margolis, tentatively a convenience, and Karen Eliot. Nicely designed oversize softbound paperback with a great cover. Dedicated to the Lost Music Network. Cheap at the $13.50 asking price.

Koevoets, Ben, Editor. Als Kunst Bestempeld: Mail Art International. Het Nederlandse PTT Museum (Dutch Post Telephone Telegraph Museum), Gravenhage, Holland. 1992. 47 Pages.

Essays by Guy Bleus, Ulises Carri�n, Ludo van Halem, Ben Koevoets, and Kitty Zijlmans in both Dutch and English. Beautifully designed catalog. The museum held a Networker Congress on July 10, 1992. Wonderful essays in this catalog with perhaps too much emphasis on the Fluxus connection. Guy Bleus's, "Mail Art and Present Networks," is destined to become the classic,"Big Art and the Big Monster," by the late Ulises Carri�n, already is. An excellent bibliography of forty-four items accompanies the texts. This is just one example of European PTT Museums (others are in France and Switzerland) that are beginning to pay significant attention to the field of mail art (and by extension , other artistic uses of communication systems).

Mancusi, Tim, and Gaglione, Jerk. NYCS Weekly Breeder. Vol. 2, Number 10 (May 20, 1972), and Vol. 3, Number 7 (Autumn, 1974), Vol. 5, Number 1 (May 20, 1992). San Francisco, California.

What a long strange trip it's been. Cousins Tim and Bill decided to put out a 20th anniversary issue of the path setting zine that just might have started it all. Founded by Ken Friedman, passed on to Stu Horn, and then inherited by Mancusi and Gaglione, the New York Correspondence Scool of Art Weekly Breeder, was a forerunner of the punk zines of the late seventies, and to a large extent, the entire exploding zine scene of today. Contributors to the anniversary issue are Jeff Berner, Richard C., Buster Cleveland, Stephen Caravello, Steve Hitchcock, Crackerjack Kid, Lon Spiegelman, John Evans, John Held, Nancy Frank, Judith Hoffberg, Rebekah Prince, Eric Black Ink, L. B. N., Bill Griffith, Darlene Domel, William Gaglione, Indian Ralph, Leodada Vinci, Tim Mancusi, Ray Johnson, and Willian Burroughs.

Plunkett, Daniel, ed. ND. Number 16. Austin Texas. June 1992.

Invaluable articles on cassette culture, mail art, zines and more. This is the sourcebook for contemporary networking. Great interview with Crackerjack Kid and many other interviews and articles that illuminate the present state of collaborative and networking artists. Current audio and publication reviews. Excellent list of mail art shows and projects by Honoria.

Printed Matter at Dia. Books by Artists Catalog. Summer 1992. 54 pages.

Featured titles and backlist of artists' books, periodicals, audioworks, and video from the leading distributor of artist publications in the world. Director John Goodwin, formerly of Art Metropole, Toronto, does a great job staying in touch and tastefully purveying a glittering array of items, among them the most eloquent of networking products. Among the featured items are a rubber stamp kit by Jenny Holzer, Plagiarism: Art as Commodity and Strategies for Its Netgation, by Stewart Home, a CD by John Cage, and my own Shadow Project broadside published by Karl Young's Light and Dust Press in Kenosa, Wisconsin.

Welch, Chuck. "Art that Networks." Whole Earth Review, Number 75: 126-127, Summer 1992.

The magazine seems to have at least one article of interest every issue, and this number's claim to fame is the inclusion of the Crackerjack Kid's excellent overview of networking art. Much of the content is from his forthcoming book by Calgary University Press, The Eternal Network: A Mail Art Anthology. Cracker assures me that the book is in the final stages with Calgary Press currently checking copyright permission and captioning photographs. Here's an example of the type of writing , which makes the new book all the more eagerly awaited. "Cross-cultural networking is a radical act of gift-sharing, collaborative play, dialogue, interconnection and accessibility. Most of these networker values are central to the volatile 1960s and 1970s culture - a time when definitions of social, cultural, religious, and economic values exploded. Art and communication were being stripped of elitism, reevaluated and made accessible in street art and happenings. Buckminster Fuller predicted a networking spaceship Earth; mass-media expert Marshall McLuhan envisioned an age when information would be recycled from one medium to another."

Bibliozine #3 (July 1992)
John Held Jr., Editor
Modern Realism Archive and Gallery
1903 McMillan Avenue
Dallas, Texas, 75206 USA

Bibliozine is an irregular periodical that is published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (cassette culture, zines, mail art, telematic community, computer bulletin boards, photocopy, collaborative performances and groups, artistamps, rubber stamp art, et al.) In return you will receive acknowledgment of your contribution in the forthcoming book and an author's discount.

A BIBLIOGRAPHY OF
INTERNATIONAL NETWORKER CULTURE

A CHECKLIST OF BOOKS, MAGAZINES, AND EXHIBITION CATALOGS INCLUDED IN THE DALLAS PUBLIC LIBRARY EXHIBITION ACCOMPANING THE FAX CONGRESS, MAY 2-9, 1992.

Archive Sohm. Happenings and Fluxus. Markgroeningen, West Germany: Koelnischen Kunstverein, 1970.

McShine, Kynaston, ed. Information. New York, New York: Museum of Modern Art, 1970.

Poinsot, Jean-Marc. Mail Art: Communication a Distance Concept. Paris, France: Editions Cedic, 1971.

Image Bank. International Image Exchange Directory. Vancouver, Canada: Talonbooks, 1972.

General Idea, ed. FILE. Toronto, Canada: December 1973.

Fischer, Herv�. Art et Communication Marginale: Tampons d'Artistes (Art and marginal Communication: Rubber Stamp Art Activity). Paris, France: Balland, 1974.

Paull, Silke, and W�rz, Herv�. AQ 16: Fluxus: How We Met: or a Micromystification. V�lklingen, West Germany: AQ, 1977.

Bleus, Guy. Commonpress 56: Commompress Retrospective. Tienen, Belgium: Stedelijk Museum het Toreke, 1984.

Crane, Mike, and Stofflet, Mary. Correspondence Art: Source Book for the Network of International Postal Art Activity. San Francisco, California: Contemporary Art Press, 1984.

Grundman, Heidi, ed. Art Telecommunication. Vancouver, Canada, and Wien, Austria: Western Front, 1984.

And, Miekal, ed. The Acts of the Shelflife: Visual Verbal Networking. Madison, Wisconsin: Xexoxial Editions, 1986.

Welch, Chuck. Networking Currents: Contemporary Mail Art Subjects and Issues. Boston, Massachusetts: Sandbar Willow Press, 1986.

Dunn, Lloyd, ed. Photostatic. Iowa City, Iowa: Number 25/26, August 1987.

Kelley, Kevin, ed. Whole Earth Review. Sausalito, California: Point. Winter 1987.

Szczelkun, Stefan. Collaborations. London, England: Working Press, 1987.

Stang, Ivan, Rev. High Weirdness by Mail: A Directory of the Fringe: Mad Prophets, Crackpots, Kooks and True Visionaries. New York, New York: Simon and Schuster, 1988.

Baroni, Vittore, Welch, Chuck, and Hamann, Wolker, ed. Netzine. Viareggio, Italy: Near the Edge Editions, 1989.

Fricker, H. R. I Am a Networker (Sometimes): Mail Art und Tourism im Network der 80er Jahre. St Gallen, Switzerland: Verlag Vexer, 1989.

Gunderloy, Mike, ed. Factsheet Five. Albany, New York: Number 35, 1990.

Marriott, John. Other Ground Works: Independent Artists' Networking. Toronto, Canada: Mangajin Books, 1990.

Shimamoto, Shozo. Shozo Shimamoto Networking. Nishinomiya, Japan: AU Artspace, 1990.

Centre Georgens Pompidou. Robert Filliou. Paris, France: Editions du Centre Pompidou, 1991.

Harper, Glenn, ed. Art Papers . Atlanta, Georgia: Atlanta Art Papers, May/June 1991.

Held, Jr., John. Mail Art: An Annotated Bibliography. Metuchen, New Jersey: Scarecrow Press, 1991.

Home, Stewart. The Art Strike Papers/ Neoist Manifestos. Stirling, Scotland: AK Press, 1991.

Perneczky, G�za. A H�l�: The Magazine Network. Budapest, Hungary: H�ttorony Edition, 1991.

Kamperelic, Dobricia. Umetnost Kao Komunikacija (Art as Communication). Beograd, Yugoslavia: Grafopublik, 1992.

James, Robin, ed. Cassette Mythos. Brooklyn, New York: Autonomedia, 1992.

Bibliozine #4 (September 1992)
John Held Jr., Editor
Modern Realism Archive and Gallery
1903 McMillan Avenue
Dallas, Texas, 75206 USA

Bibliozine is an irregular periodical that is published in connection with research the editor is conducting for a new book, International Networker Culture: An Annotated Bibliography. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for articles on networking and it's various aspects (cassette culture, zines, mail art, telecommunications, computer bulletin boards, fax, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, etc.) In return you will receive acknowledgment of your contribution in the forthcoming book and an author's discount.

Some entries from early research stressing different networking mediums:

(Cassette Culture) And, Miekal. "Cassette Work." Anti-Isolation, 1(2): 12-15, (1985).

The author's first attempt to "make sense of an overlooked part of culture." "Essentially the use of cassettes to network music is a phenomenon of the 80's. Cassettes have become so viable that most music is released on cassette and so simultaneously thus adding some credibility to cassettes...Underground music adapted to this technology early on, many bands issuing limited edition releases of their music. Soon an international network of musicians/listeners appeared out of nowhere or seemingly so. Another one of the differences, hence advantages of the cassette network is that many of the contacts are also musicians. It is an active network with active input. Not all that different from playing live on a world stage." Twelve cassette labels, including Banned Productions, Sound of Pig, Trax, etc.) are discussed. "Until radio programming allows access to independent cassettes (many won't play anything but records) you have to depend on the mail to be your own personal radio. Networking and contacting is time-consuming, sometimes expensive (especially overseas) and unpredictable, but the results are wholly unlike anything previously in the history of music."

(Rubber Stamp Art) Baroni, Vittore. "Rubber Stamp Art Collective Action." Arte Postale (Italy), 1(59: January-June 1989.

A visual record of some of the many rubber stamps used in the mail art network by such participants as Chuck Stake (Canada), Graf Haufen (Germany), Serge Segay (Russia), Creative Thing (USA), Fran Rutkovsky (USA), Mark Pawson (England), and Gyorgy Galantai (Hungary).

(Fluxus) Brecht, George. "Something About Fluxus, May 1964." AQ (Germany), 1(16): 9, 1977.

Early articulation of some concepts central to Fluxus that developed into the conception of an Eternal Network. "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnameable in common have simply naturally coalesced to publish and perform their work. Perhaps this common something is a feeling that the bounds of art are much wider then they have conventionally seemed, or that art and certain long-established bounds are no longer very useful. At any rate, individuals in Europe, the U.S., and Japan have discovered each other's work and found it nourishing (or something) and have grown objects and events which are original, and often uncategorizable, is a strange new way...Artists, anti-artists, non-artists, anarchists, the politically committed and the apolitical, poets of no-poetry, non-dancers dancing doers, undoers, and non-doers, Fluxus encompasses opposites."

(Artists' Books) Carrion, Ulises. "The New Art of Making Books." Art Contemporary, 1(9): 68-71, 73, 1977.

Short paragraphs are used to show the differences between the "new art" and the "old art" in considerating of definition the artist book. In addition, the author has written a short history of his Other Books and So bookstore and gallery, which began it's activities April 1975 in Amsterdam, Holland. This was one of the first outlets for products (book art, postcards, artist periodicals) produced by members of the Eternal Network. "Unlike other book-centers that have been opened lately, Other Books and So has given since the beginning an equal importance to the works by artists on one hand and to those by concrete and visual poets on the other. This principle, that I followed also when planning our exhibitions schedule, is based on the conviction that the book as an autonomous genre does not belong to the 'art realm,' but it is a typically interdisciplinary creation."

(Zines) Cunningham, Scott. "The Second Annual North Brooklyn Small Press Convention." ABC No Rio Magazine, 1(7): 3, November 1989.

A number of zines, including Factsheet Five, Real Life Magazine, Photostatic, and Xeroxial Endarchy are featured at a "special exhibition of ...Comix, Graphix and Press from the Xeroxial Underground." Mike Gunderloy, publisher of Factsheet Five is the special guest speaker. The exhibition, entitled "Samizine," is "the fusion of the Russian word for self-publishing, 'samizat,' with the popular American term for the fringe elements of the small press called 'zines'... American self-publishers work underground to produce truly original work outside the mainstream press, who under the euphemism of 'commercial appeal,' have been bought off by our corporate-run government. With this exhibit we hope to offer the public a chance to see many, many examples of work that is truly alternative. Self-publishing offers a valuable lesson for everyone living in this post-modern hell where passion and art aren't suppose to mix."

(Telecommunications) McKenna, Gregory. "Aesthetic Tools: Documenting the Emergence of a Computer Culture." Art Com, 6(1): 35-39, 1983.

A questionnaire was sent out to various practitioners "to gather an international sampling of viewpoints on the computer's impact on the culture we live in." The response by Roy Ascott, an "artist-critic-educator affiliated with the School of Fine Art, Gwent, Great Britain," goes beyond questions of technology into societal shifts. "To use the computer as a stand-alone tool, a kind of Hi Tech extension of the brush or camera, for example, is the ultimate solopsism. It would be to make it no more than a trivial distraction. But...once the computer is linked into communications networks as a telematic device, then it becomes an instrument of perception and an agent of consciousness with immense transformative power. This is Network Consciousness."

Bibliozine is given free to other networkers in the process of communication exchange. If you wish to receive all issues as they are published, you may subscribe by sending $5 to cover postage. Back issues are available for $1.

                                                                                                               Continue to Part II