GENERAL: Leonardo. V.2. #11.

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ELECTRONIC NEWS

_________________________________________________________________
November 15, 1992 Volume 2 : Number 11
_________________________________________________________________
WORDS ON WORKS ISSUE
Contents:

<<<<< WORDS ON WORKS >>>>>
About Words on Works: Judy Malloy
PALM-SIZE PLASTIC CASE SERIES: Joe Rosen
DEUS EX MACHINA/CLOSET OF ANGELS: Deborah Whitman
PORTRAITS OF PEOPLE LIVING WITH AIDS: Hazen Reed
QUIBBLING, A HYPERFICTION: Carolyn Guyer
THE WORD THE PLAY: Jim Rosenberg

<<<<< PROGRAMS AND PRODUCTS >>>>>
Hypertext/Hypermedia at MLA: Terence Harpold
Ryosuke Cohen's BRAIN CELL: Judy Malloy

<<<<< FAST INFORMATION >>>>>
FAST Updates: Nancy Nelson
FAST Calendar: Annie Lewis

==================================================
<<<<<<<<<<<<<<< WORDS ON WORKS >>>>>>>>>>>>>>>

ABOUT WORDS ON WORKS

"As the Cybernetic Art of this generation grows more intelligent and
sensitive, the Greek obsession with 'living sculpture' will take on an
undreamed reality," Jack Burnham wrote in 1968 [1], but a decade and a
half later, he titled a book chapter "Art and Technology: The Panacea
that Failed" [2] having come to believe that the anthropomorphism he
had formerly sought in art and technology had expressed itself instead
in conceptual art, performance art, and video art. Art and technology
had not successfully integrated in part because of the "sense of
mastery, manipulation and 'otherness'" that technology fosters, he
postulated.

However, in 1992, (a year when the most successful presidential debate
was generally agreed to be the one in which the candidates interacted
with the audience), it is apparent that, in combination with audience
involvement/interaction, artists are effectively utilizing that very
sense of mastery and manipulation to vitalize art and technology.

In his PALM-SIZE PLASTIC CASE SERIES, Joe Rosen gives the viewer a
feeling of physical control by providing hand held, artist designed
controllers. "A primary goal in each was to incorporate a mind and
body interplay between users and on-screen computer objects and
images," he says.

Deborah Whitman, whose DEUS EX MACHINA/CLOSET OF ANGELS integrates
technology (super 8 film loops) with wooden sculptural structures in a
film sculpture that she feels is completed by audience participation,
describes her ongoing series of film sculptures as "allegorical
machines with whimsical features which involve the audience in poetic
narratives."

When he writes about his interactive documentary PORTRAITS OF PEOPLE
LIVING WITH AIDS, Hazen Reed expresses a similar concern with audience
involvement. "Understanding that viewers are part of the process of
meaningful creation is an important notion in all communicative acts,
be they face to face conversations with other human beings,
interactions with the environment, or dialogue with an interactive
computer system," he writes.

"The thing about hyperfictions is that, for art, they tend to be
extremely lifelike. They move and shift, allowing everything, and so
allow only that we find our own perspective," says Carolyn Guyer in a
statement about her hyperfiction QUIBBLING.

As poet Jim Rosenberg maintains in THE WORD THE PLAY ATTACHING AT A
WIDE INTERVAL (a note about the writing of his densely fabricated
electronic poems), "the real stuff of poetry is still human lives, as
it always has been, notwithstanding that the play occurs, screenwise,
in a machine. "

Judy Malloy <jmalloy@xxxxxxxxxxxxxxxxxxx>
-----
1. Burnham, Jack. BEYOND MODERN SCULPTURE; THE EFFECTS OF SCIENCE AND
TECHNOLOGY ON THE SCULPTURE OF THIS CENTURY. NY, G. Braziller, 1968.

2. Burnham, Jack. "Art and Technology: The Panacea That Failed" IN:
VIDEO CULTURE; A CRITICAL INVESTIGATION. John G. Hanhardt, ed. Layton,
Utah, G.M. Smith, Peregrine Smith Books in association with VSW Press,
1968. pp. 232-248

****

PALM-SIZE PLASTIC CASE SERIES (1992)

Joe Rosen
P.O. Box 225, Midwood Station
Brooklyn NY 11230 USA
Email: <joro@xxxxxxxxxxxxx>


SKELETOR, FLYINGSPECK, and ELECTRONIC COMPOSITION NO. 1 are
three works which comprise the "Palm-Size Plastic Case" Series -- a
collection of interactive computer art projects completed between June
and September of 1992. The series title is named for the 2 X 2 X 1/2"
palm-size plastic cases used to house the custom designed hardware
controllers that accompany each of the three projects.

All of the projects in the series were built with the intent of
exploring alternative methods of hardware input to software programs.
A primary goal in each was to incorporate a mind and body interplay
between users and on-screen computer objects and images.

Each of the collection's three plastic cases is hand decorated with
imagery that is representational of the action the individual project
performs. Internal hardware was configured and assembled with parts
gathered together from mail-order electronics supply catalogs and
Radio Shack retail stores.

Software programs for each project were custom coded using a
combination of BASIC and C or Pascal programming languages. A brief
description of each project in the series follows:

SKELETOR

SKELETOR allows its user to interactively explore the yin and yang
balance between life and death. By pressing a button on top of the
SKELETOR hardware controller, the program's user can repeatedly kill
and bring back to life primitive on-screen representations (i.e.
simple black and white geometric drawings and animations) of a
skeleton-like head.

FLYINGSPECK

FLYINGSPECK is a computer simulation which gives the illusion of how
a floating speck of dust might appear if observed many times magnified
under a microscope lens. The program's user has the ability to move
the animated dust speck around the computer screen by spinning two
knobs on the FLYINGSPECK hardware controller.

ELECTRONIC COMPOSITION NO. 1

The ELECTRONIC COMPOSITION NO. 1 gives users an opportunity to
create computerized interpretations of Dutch modernist "De Stijl"
paintings. Upon starting the program a stream of colored rectangles
begin a continuous sweep across the computer screen. The color bias
and size of the individual rectangles can be instantly changed by
adjusting a slider and thumbwheel on the "Electronic Composition No. 1"
hardware controller.

****

DEUS EX MACHINA/CLOSET OF ANGELS

Deborah Whitman
567 6th Street, #8
Brooklyn, NY 11215 USA

I have made film sculptures since 1977 by looping Super-8 film on reels
through a wooden structure, creating a mechanism. [1] The film
projects onto screens within the structure. Running continuously, the
film sculptures are like allegorical machines with whimsical features
which involve the audience in poetic narratives.

The film sculptures run continuously. It is as though the audience saw
a play, a mythical play, like a Greek play or a symbolic play like
Shakespeare and then it continued playing in a room somewhere and
occasionally the audience would open the door to that room and would
immediately recognize the play whether they chose to stay for part of
it or not and the audience could close the door and say, oh yes, that's
HAMLET or that's ANTIGONE and the plays would just continue playing
endlessly and they would know that about those rooms. Except in the
film sculptures, the plots continue to change and the audience becomes
characters within them, even if their stay is brief.

DEUS EX MACHINA/CLOSET OF ANGELS (1992) [2]

There is a white closet (3' x 6 ') which is mechanized by a film loop
that runs up from a film projector at the base, to a reel on the side.
There are two doors on the front of the closet and a rear screen
projection. A large screen (4' x 6') is hanging to the left of the
closet. The film first projects onto a mirror placed nine feet behind
the closet, which then reflects the images back onto the screens. The
mirror is cut into two facets, the angles of which are adjustable, so
as to throw the images to the two separate screens. The film format is
divided in half. The left half of the image projects onto the large
screen. The right half projects into the closet and is chiefly of
angles ascending and descending. The projector, the mirror and the
film loop establish the DEUS EX MACHINA. The film runs continuously
but the actual length is 2 minutes and 35 seconds.

The CLOSET OF ANGELS is at an angle to the hanging screen so that the
two screens are viewed separately from the front and together from
behind. From the front where both screens are viewed separately, there
is a sense of two locations. The steady ascending and descending of
angels in the closet mimics the infinite expanse of the heavenly
spheres. The images projected onto the large screen are of objects
which contain infinity for a moment, such as a jar of air, a shadow in
the corner, a door partly open. As infinity is represented by blue in
both screens, from behind where the two screens are seen together,
there is a sense of one continuous plane. The objects seem to be
states of being which enclose eternity for awhile to then return as
part of it - stones by a river, a jar of stones. The clockwork of the
DEUS EX MACHINA is disclosed, a conductor of the ebb and flow of
infinity within and without the forms, ascending and descending the
angels.
-----
1. Such as THE DEFINITIVE'S SHADOW, 1981 (installed at The Franklin
Furnace, 1981) and A CLOUD IS ON THE TOP OF THE BOX OF DOORS (1982); A
STAIRCASE WITH A TREE AT THE END (1983); THE UPPER ROOM (1984) (all
installed at the Whitney Museum of American Art, 1985)
2. Wood, screen material, Super 8 film and projector, mirror. 8'
height x 10' width x 16 1/2 depth

****

INTERACTIVE ESSAY: PORTRAITS OF PEOPLE LIVING WITH AIDS

Hazen Reed
65 South Sixth St.
Brooklyn, NY 11211 USA
Email: <70674.507@xxxxxxxxxxxxxx>

PORTRAITS OF PEOPLE LIVING WITH AIDS seeks to involve users in an
active understanding of the AIDS condition. This interactive
documentary introduces participants to three people living with AIDS (
a male painter, a woman activist, and a male inner-city AIDS councilor)
via audio, video clips, and photographic essays digitally stored on a
Macintosh computer. The portraits are grouped around conversations
with each person, and topics, as in all conversations, are far ranging.
Because the interactive documentary is non-linear, a viewer may at any
time add to these conversations by leaving a digital video message for
one of the three people, any of the previous viewers, as a general
comment, or for the artist. In this way, each viewer continues the
evolution of the documentary allowing both interviewee and end users to
have a voice in a personalized, intimate atmosphere of a computer
kiosk.

The interactive documentary, as I see it, is a new medium that
partakes of a well established communication mode, the dialogue.
Technologically, we have a long way to go before computer interactive
systems fully accomplish the randomness that make our daily
conversations invigorating and lively. However, the seeds have been
planted for interactive "computer conversations."

PORTRAITS OF PEOPLE LIVING WITH AIDS recognizes AIDS as a human
condition requiring human understanding. Such an understanding can
come about only through repeated efforts on the part of everyone
involved, which in the case of the HIV virus and AIDS, includes almost
everyone in our various communities. No human being on the planet is
completely immune from this condition, yet we have all seen and heard
the definitions of AIDS that serve to remove certain groups from the
disease's reach while focusing attention on others as more susceptible.
We have come to know AIDS as a disease of "this community" or "that
group." It has served to churn up the waters of prejudice and hatred.
It has become the stuff of political campaign speeches, where taking a
position identifies one as "bleeding heart" or "liberal." Despite
these attention grabbing and often divisive public displays, one
fundamental element of the disease has been missed -- AIDS is a human
problem. As Vilma Santiago, one of the people living with AIDS in the
piece, says, "AIDS does not discriminate." Reaching the larger
community via our current efforts to educate and inform poses a
difficult communication event, precisely because of past and present
efforts to define the disease that do discriminate. We must find ways
to involve everyone in this educational task without alienating those
with whom we speak. We must make it clear that people with AIDS are
people who are part of our larger communities. In short, we must come
to see that each of us is as much apart of this disease as are the
people who suffer from its affliction.

Interaction is nothing new, it is a part of all communication. What
is new is the interactive computer environment, and how it involves the
care and attention of all its participants. Understanding that viewers
are part of the process of meaningful creation is an important notion
in all communicative acts, be they face to face conversations with
other human beings, interactions with the environment, or dialogue with
an interactive computer system. Communication, built on the notion of
a caring self, results in a diligent acknowledgement of the contingent
events that inform our lives. Computer interactive systems, designed
with this human recognition, may help us to better understand ourselves
and the world in which we live. While computers in and of themselves
don't have the power to do this, if we can incorporate them into the
process of understanding our own identity, they will have a profound
effect on humanity. The interactive documentary continually reminds us
of our dependent/independent nature which suggests our being as being
in jeopardy among others, as powerful and as weak as our own selves.

****

SOMETHING ABOUT QUIBBLING, A HYPERFICTION

Carolyn Guyer
807 First, Jackson, MI 49203 USA
Email: <caroway@xxxxxxx>

To write about QUIBBLING seems almost contrary to its conceptual warp.
It's hardly *about* anything itself, being more like the gossip, family
discussions, letters, passing fancies and daydreams that we tell
ourselves every day in order to make sense of things. These are not
exactly like myths, or fairy tales, or literary fiction. They are
instead the quotidian stream. In this sense, then, QUIBBLING is a work
that tries not to be literary. It's somewhat unsuccessful in that, but
then, it's art.

As ever, we're in a transitional age, and given that as
pan-generational condition, we're forever seeking ways to understand
our own unique to and fro. We can't, however, claim ours has
specifically to do with technology. It *always* has to do with
technology, whether it's inventing a way to hold fire, write speech, or
send email. We're always changing according to the changes we make,
and artists concern themselves more with that flux than any kind of
conclusions.

It is in that rhythmic sense of ebb and flow, of multi-directional
change, of events that disappear before they're quite intelligible but
somehow come to mean something, that QUIBBLING was made. In hindsight,
I can see why water and its properties became one of the pervasive,
propelling metaphors in the work. A lake with many coves is how I saw
it. The coves being where we focus, where individuals exist, where
things are at least partly comprehensible; the lake being none of that,
but, naturally, more than the sum of the coves, or more than what
connects them. As a metaphor, the lake and coves stand not just for
the form of this hyperfiction, but hyperfictions generally, and yes,
(sorry) for life itself. The thing about hyperfictions is that, for
art, they tend to be extremely lifelike. They move and shift, allowing
everything, and so allow only that we find our own perspective. They
are so multiple they reveal what is individual, ourselves, readers of
our own story.

So, if you got this far, and are thinking what a load of artsy crap,
then just especially for you I'll say, it's about how women and men are
together, it tends slightly toward salacious, it's broadly feminist,
heh-heh, or, you could say it's the story of someone's life just before
the beginning or a little after the end.
----
ed: QUIBBLING is a hyperfiction for Macintosh Computers that is
forthcoming from Eastgate Systems.

****

THE WORD THE PLAY ATTACHING AT A WIDE INTERVAL

"Water bird" -- Washoe

Jim Rosenberg
RD #1, Box 236, Grindstone, PA 15442 USA
Email: <amanue!jr@xxxxxxxxxxxxxxx>

Combination from a fixed palpable set given in advance: the word is
composite, an object with parts from a small number of choices:
syllable, phoneme, letter of the alphabet, the word is an assembly of
sounds, of letters, a play of referenceless tokens into breathable
sign object (q.v. Derrida): the familiar narrow interval. In
composition by vocabulary the interval is wider: a fixed set of words,
composed in advance of the poem where the word is *atomic*, a moveable
catalysis object (sign stuff dissolved, a resonance token indivisible
but with valence): the composite is wider than the word, words are
brought together as a kind of super-word, phrase as self-mobile word
molecule, divisible and yet acting only as the clump. The units shift
up one notch in scale, phrase acting in syntax as the word does
normally. Vocabulary, word-set: the pieces set out for play as beings
are, whole, alive, not to be dismembered. A play at a wider interval:
the word not as supplement-of but as activator of resonance: like the
enzyme, it disappears having merely activated an energy reaction of
presences one possesses already. The word is not a gift, is not an
epiphany, only a bending of the resonance space nearby. The real stuff
of poetry is still human lives, as it always has been, notwithstanding
that the play occurs, screenwise, in a machine.

That the super-word holds, can chord-achieve its precipitation of the
oracle key: the word is reencountered as a member of the word set with
a chance present location: the word is new, new to this place, newer
than the non-set "spontaneously voluntary" word we hardly touch: the
*external* word, the word that *originates* externally. The word is
always there before we get there, and yet for the poet, traditionally
the word has always seemed to originate "inside". The links of words
into super-word, that is what is now internal. But having been made,
in the machine, the super-word can be made external as well: the flow
in and out, like sodium channels that power the nerve force. The
reaching for the word becomes nearly physical, as if pulling it from
its place on a signboard. Make the word new by putting it outside,
bringing it inside again as super-word, then putting it outside again:
like breathing. How crystalline the word gets, there outside the mind,
doing battle with erosion. Computer screen as crystal garden, part of
the mind / not part of the mind.

Metamorphosis, migration, evolution, reassembly: substitution may occur
at the play of super-words one for another, bonds broken and reattached
elsewhere in the mixing of the atoms at higher energy, a fractally
point- sharp force of surprise. The phrase rejected in editing becomes
compost, food: components as nutrient put back for recombination in
newly attached super-words, sampled and ordered by chance: the mixing,
recombination -- as in life -- the source of energy, of diversity, a
flow cycle reaction arena, a self-sustaining word process ...
----
Jim Rosenberg is a poet whose recent electronic works include
DIAGRAMS SERIES 4, available on-line on The WELL, and INTERGRAMS 1-11
forthcoming from Eastgate Systems. This note describes his feeling
toward his "semantic method", developed over many years, and now
carried out entirely on a computer.

==================================================
<<<<< PROGRAMS AND PRODUCTS >>>>>

HYPERTEXT, HYPERMEDIA: DEFINING A FICTIONAL FORM

Terence Harpold
420 Williams Hall, University of Pennsylvania
Philadelphia, PA 19104 USA

Email: tharpold@xxxxxxxxxxxxxxxxxx

Until recently, critical discussion of hypertext has tended to focus on
issues of implementation, psychology and epistemology--the problems
raised by hypertext as a kind of writing independent of its generic
applications. Little attention has been paid to issues specific to the
writing and reading of hypertext _fiction_. This session will be
devoted to a discussion of hypertext fiction (and, more generally,
electronic fiction) as an emerging mode of discourse in the late age of
print.

The panel HYPERTEXT, HYPERMEDIA: DEFINING A FICTIONAL FORM (1992 Modern
Languages Association Convention; Special Session #119 Tuesday,
December 29, 1992, 12:00 noon) will include individuals from both
academia and the growing community of authors working in electronic
text and multimedia: Terence Harpold, University of Pennsylvania
(chair); Michael Joyce, Jackson Community College; Vassar College;
Carolyn Guyer, Manistee, MI; Judy Malloy, LEONARDO; Stuart Moulthrop,
Georgia Institute of Technology. In addition to the sizable body of
theory and criticism they represent, each of the panelists is
well-known for his or her electronic fiction.

Michael Joyce's paper, "Hypertextual Rhythms (The Momentary Advantage
of Our Awkwardness)," addresses the historical moment of recent
hypertext fiction. He will suggest that the common perception of
hypertext as an awkward and opaque mode of discourse may actually make
it easier to grasp its historical significance. Before the novelty of
the electronic medium fades, and electronic text assumes the
transparency that printed text now has, we may better understand it as
a distinct representational form.

Judy Malloy's paper, "Between the Narrator and the Narrative (The
Disorder of Memory)," will draw on several of her "narrabases"
("narrative databases") to discuss problems of narrative "truth" in
radically non-sequential electronic texts. The randomness and
interactivity of hypertext fiction make it possible to vary the
reader's experience with each reading; the disorder of the fictional
worlds that thus emerge mimics, she contends, the disordered yet linked
structure of human memory.

Carolyn Guyer's paper, "Buzz-Daze Jazz and the Quotidian Stream
(Attempts to Filet a Paradox)," explores the structure of narrative
temporality in hypertext fiction. She will argue that hypertextual
narratives are "complex mixtures" (Deleuze and Guattari), in which
figure and ground are shifted arhythmically, in a chaotic or fractal
way. The result is an oscillating transformation of the linear
temporality of traditional fictional forms.

Stuart Moulthrop's paper, "Hypertext as War Machine," situates
hypertext fiction as an inherently politicized byproduct of the late
capitalist event-state of spectacle, simulation, and multinational
aggression. Focusing on John McDaid's "Uncle Buddy's Phantom Funhouse"
and his own "Victory Garden," he asks whether the deformations of print
narrative in these fictions provide an alternative to the semiotics of
the spectacle, or represent (in Hakim Bey's term) merely "festal"
digressions from the discourse of disembodied power.

****

BRAIN CELL

Every now and then, for the past ten years or so, I have received a
note from Japanese artist Ryosuke Cohen requesting contributions to a
work called BRAIN CELL - an ongoing, simple but effective,
collaborative, networked artwork. "Please send me your stamp design,
rubber stamp or 150 stickers or seals. I will print or paste these
materials onto the A3 size paper, creating 150 sheets. I will then
send a sheet back with a list of addresses to each and every
participant." Cohen says again in this month's mail.

Those who spend the time to send something to BRAIN CELL, receive in a
while, by mail, a unique artwork/document. It is 11" x 17", thickly
covered with multicolored words and images from around the world - what
Jeanne Carstensen calls "A constantly mutating rubber stamp community
with its own community memory". [1] Contact: Ryosuke Cohen, BRAIN
CELL, 3-76-I-A-613, Yagumokitacho City, Osaka 570 Japan.
----
1. Carstensen, Jeanne, "Mail Art" WHOLE EARTH REVIEW No. 57 (Winter
1987) pp. 84-86.
Judy Malloy
******************************************************
<<<<<<<<<<<<<<< FAST INFORMATION >>>>>>>>>>>>>>>

<<<<<<<<<<<<<<< FAST UPDATES >>>>>>>>>>>>>>>

There has been some reorganization of the FAST Bulletin Boards. You
may have to read the Main Menu closely to find your favorite things.
For example, Space Arts News has been moved onto the same board as
Fineart Forum and Leonardo Electronic News. A new bulletin board has
been set up listing profiles of organizations and individuals. Another
new bulletin board lists all reviews - books and articles, conferences,
projects, exhibits and software. Instead of the Holography Hotline, we
will be posting Laser News in the near future. The job listings
section has been dropped for lack of information.

Fineart Forum and Leonardo Electronic News have been uploaded. The
calendars have been posted. A new Member News will be loaded soon.

<<<<<<<<<<<<<<<< CALENDAR - DECEMBER 1992 >>>>>>>>>>>>>>>
------------------------------------------
13 November - 6 December 1992

The DESERT MUSIC: A Live Sho

George Coates Performance Works, San Francisco, CA USA

Contact: George Coates Performance Works, 110 McAllister Street, San
Francisco, CA USA tel: 415-863-4130
------------------------------------------
1 December 1992

4th Annual DAY WITHOUT ART, an International Day of Action and Mourning
in Response to the AIDS Crisis

Scheduled events include Night Without Lights, Electric Blanket,
Moment Without Television, The Celebrity Ribbon Cavalcade

Contact: Visual Aids, 131 West 24th Street, New York, NY 10011 USA
tel: 212-206-6758 fax: 212-206-8159
___________________________________________
5 December 1992

WOMEN AND TECHNOLOGY SYMPOSIUM

The Beverly Hilton, 876 Wilshire Blvd. ,Beverly Hills, CA 90210

*Topics Include: professional directions, communications and media,
architectures of gender, the technologized body and empowerment and
change
*Speakers Include: Anna Couey, Anne Fallis, Brenda Laurel, Sherrie
Rabinowitz Allucquere Rosanne Stone
*Artworks include work by Lynn Hershman and Sarah Roberts; Lucia
Grossberger; and a demo center sponsored by LA SIGGRAPH.

Pre-registration conference fees are $70 for the full day (includes
catered lunch and evening reception) $40 (afternoon program and
reception only) Day of conference $80 full day, $45 half day
Full and partial scholarships are available for qualified
applicants.

Contact: hypertelsaloon, 837 Traction Avenue space 308, Los Angeles,
California 90013-1841 USA tel: 213-621-3127 fax: 213-621-4187
e-mail: strauss@xxxxxxxxxxxxx
___________________________________________
6 December 1992 -- 14 February 1993

HAIR

John Michael Kohler Arts Center, Sheboygan, WI USA

An exhibition that examines the social meanings of
hair in our society today

Contact: John Micheal Kohler Arts Center, 608 New York Avenue
Sheboygan, WI 53082-0489 USA
tel: 414-458-6144
___________________________________________
18 December 1992 -- 31 January 1993

NIGHTMARE AT THE HELMSLEY PALACE, The Minneapolis Institute of Arts
Minneapolis, MN USA

A multi-media installation by Minnesota artist Judith Yourman that
examines the American fascination with celebrity and scandal and the
role of media in transforming news into entertainment

Contact: The Minneapolis Institute of Arts, 2400 Third Avenue South,
Minneapolis, MN 55404 USA
tel: 612-870-3000
___________________________________________
*******************************************

Executive Editor: Craig Harris Editor: Nancy Nelson
Assoc. Editor: Judy Malloy
Editor this issue: Judy Malloy

Published by Leonardo, the International Society for the Arts,
Sciences and Technology (ISAST), 672 South Van Ness Avenue, San
Francisco, CA 94110

Send requests for subscription to Leonardo Electronic News (LEN) to:

<fast@xxxxxxxxxxxxxxxxxxx> with the message: SUB LEN, your name,
email address and postal address.
*******************************************************
End of Leonardo Electronic News 2(11)


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