Network Atlas by Geza Perneczky - Ruud Janssen

334(→ Plunkett), 41-44 p.«...In 1981, I somehow received a mail art chain letter. I believe the source wasthrough an art professor or one of their assistants. At the time, I was married,living in Cincinnati, Ohio, and attending art school with my husband. The chainletter was really fascinating because it had exotic names and addresses from allover the world. The promise of receiving hundreds of artworks from all over theworld was really exciting, and I immediately started fantasizing about winningthis art lottery. I made a postcard and sent it to the person at the top of the listwho was located in Germany. (...) Later, after getting my masters degree in NewJersey and then moving to Chicago, I decided I really liked the concept of a mailart show ('85). Specifically, I liked the non-judgmental all-inclusiveness of it. Iwas very successful exhibiting my „art“ work in Chicago and elsewhere, but I alsobegan entering every mail art show I could find. The lack of organized info on thisunderground I found frustrating. I still did not have a very good idea about mailart until I had my own mail art show ('89). That is when I became really educatedon the depth of what mail art can be, and have essentially become hooked eversince.Obviously the „lack of organized info“ made you decide to publish the firstGlobal Mail, the magazine that is now well-known as a source-magazine for allkind of contacts. Some mail-artists feel that the whole network shouldn't be tooorganized and centralized. What are your thoughts?The data Global Mail contains is not mail art, and it is not networking.The action on my part in publishing Global Mail is MY personal attempt at networking.I am passing on information passed to me. But Global Mail's content isnothing more than a collection of data. It's just a resource. It records network activitybut it has no meaning in and of itself, other than as entertainment. However, itis a tool that can be used to crack out the secrets of mail art and networking. Thereis no ONE location of mail art and networking. The real activity is what is goingon behind the scenes, beyond the scope of the projects and shows. The realmeaning, the real secret, is the exchange between two individuals. That positiveenergy is the secret. If anything, I think Global Mail is good for those just startingout, who are trying to build their contact base. But alas, that group of people reallydon't understand the publication. One of the goals of Global Mail is to educate andsuck people into the net...»(Ruud → Janssen: The Mail-Interview with Ashley Parker Owens. TAMPubls.: TAM-960110. A/5, 10 p. Tilburg, 1996)Paruzel, Andrzej c/o Biuro Przewodników... P. O: Box 179, Lódz Poland 1988Biuro (Actionist art mag., with projects and docs. {100}. A/4, phc., 1988-) Paseado, Daniel / Ribeiro, Branco, C. P. 547 Campinas (SP), BR-13100, Brasil 1984^Mira (One-sheet infozine, contacts, addresses, images. 33x21.5 cm., folded, phc. 1984-, #1-2?)^#1, 2Patrick, Tom (Berkeley Office), 1649 Dwight Way Berkeley, CA-94703 USA 1981^Eat It Up («Post Urban Mods» magazine. One xeroxed sheet in letter size folded in quarters, phc., 1981-86, #1-46?)^#1-46^Idea X-Change (Collective Mail Art magazine by →Mela, E. / →Peters, Ursula / → Cellini, James, 1985-, irr.)^#1^Make a Cow. (with Helen Heaven – filling the very known cow-graphic with artists'names.) Cat. in: Eat it Up, #44, July 1985. Digest, phc., 8 p.~