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tgs tr Mittino Barbara progetto .pdf


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t
r

A
l
i
a
M
e
Th

--- 297 mm ---

--- 210 mm ---

--- 210 mm ---

“Make room for Ray
Johnson whose place
in history has been
only vaguely defined.
Johnson’s beguiling,
challenging art has an
exquisite clarity and
emotional intensity
that makes it much
more than simply a
remarkable mirror of
its time, although it is
that, too.”
–Roberta Smith, The
New York Times
(1995)
--- 420 x 297 ---

104323_cover_KAF Publikation_.indd 1

afskaret

01/09/16 10:10

The following text appeared in ETERNAL
NETWORK: A MAIL
ART ANTHOLOGY,
published in 1995 by
University of Calgary
Press, a work edited by
Chuck Welch. The essay
is reprinted here with
the permission of the
author for the benefit of
those scholars wishing
to retrieve an accurate
account of the merging
of mail art and telematic art. Some of the
pioneering projects and
texts by Welch, notably
Telenetlink, The Emailart Directory, The
Electronic Museum of
Mail Art (EMMA) and
The Reflux Network
Project, created by Brazilian artist Dr. Artur
Matuck are central to
the bridging of mail art
and the internet from
1990-1995.
“Tele” is a Greek word
for “far off,” “at a distance.” Netlink is terminology meaning “to
interconnected networks,” especially communication networks that
are perceived to be di-

stant. Artists impart
attitudes, values, and
sensibilities in their
shared communication
with others. Aesthetic
sensibilities, when coupled with social hierarchy and economic inequality, create media
boundaries, “netclubs.”
Mail art networking
attempts to soar above
these distances, to fly
beyond all media boundaries-to telenetlink!
Mail art is communication that travels a physical/spiritual distance
between senders and
recipients. For nearly
forty years mail artists
have been enjoying interactive mail characterized by free, open,
often spirited visual/
textual correspondances. Mail artists have
worked hard to abolish copyrights through
dispersed authorship.
In the distant, parallel
world of high technology, telecommunication artists often work
in the same collaborative fabric interwoven with mail art. But
emailartists network

online in a simulated,
textual, paperless world. No wonder there are
mail artists who prefer the tangible, tactile,
handcrafted encounter
of pen, pencil, collage,
paint, and handmade
paper.
It is true that some
postal artists are suspicious of art and technology. they view
telecommunications as
hasty, simulated, impersonal
interaction
lacking in privacy. These mail artists find the
time-lag of postal delivery a desirable quality. Conversely, there
are telecommunication
artists who view mail
artists as unskilled in
aesthetic differentiation, hopelessly lost in
a slow, antiquated, and
expensive postal bureaucracy.
Distances
widen between these
communication forms,
especially by the stilted
influences of normative
art standards. Such attitudes obscure the notion that art communication is an intermedia
concept.

etimes
m
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ronic a
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Evolution of the Telenetlink Project
The international Telenetlink evolved in June 1991 as an interactive part
of Reflux Network Project, an artists’ telecommunication system created
by Brazilian artist Dr. Artur Matuck. Reflux Network Project was an ambitious, progressive experiment that interconnected 24 on-site nodes located in university art departments, art research sites, and private internet
addresses. Through Reflux, the Networker Telenetlink became mail art’s
first active online connection with the world of internet.

OPEN OBJECTIVES
Objectives for a Networker Telenetlink Year in 1995 are open for discussion, but encourages interACTION
now. Possibilities? Embrace the telematic medium and explore its parameters; develop a local/global emailart community; exchange cultural
communications; interconnect the
parallel network worlds of mail art
and telematic art through internet
and the World Wide Web; contact
online communities of mail artists
working on commercial networks
like CompuServe, America Online,
Prodigy, and other connected email
gateways; place networker archives
online; experiment with telematic
technology; participate as a FAXcilitator; exhibit in the Electronic Museum of Mail Art; interact in public
and private forums; merge media;
mail and emailart; and enact networker ideals invisioned for the millennium.


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