Network Atlas by Geza Perneczky - Ruud Janssen

352LONG-DISTANCE COMMUNICATION. This is the common demoninatorof all the activities we have mentionned, the use of an intermediary which, bycreating distance and additional difficulties, enables one at the same time toestablish real relationships between strangers. The work sent through the mails isnecessarily read, while it might be refused in other circumstances. This form ofcommunication fits into our reflection on the nature of relationships establishedbetween individuals, and between the individual and artistic production.CONCEPT. By the word concept, which we have only rendered hazier thanbefore, we want to point out certain works which use the post ofice as a means topursue a demonstration begun elswhere. Kawara, Dibbets, Buren, Huebler and someothers pursue theoretical or conceptual work, and, through the use of the postalinstitution, encounter the means to clarify their analysis.(J. M. Poinsot: Mail Art. Communication a Distance Concept, 1971, p. 18)J-M. Poinsot: Utilizations of Postal Institutions and Long-Distance Communications.(Reprint from Poinsot's book in: M. → Crane / M. Stofflet (eds.) CorrespondenceArt. Contemporary Art Press (→ Loeffler). San Francisco, 1984. 53-62 p.Polkinhorn, Harry Box 927428 San Diego, CA-92192 USA 1991↑ 720. Heber Av. Calexico, CA-92231 - “ - 1989.............................................................................................................................................................^Volvox. (Poems) Digest size,, offset, 52 p. {50}Atticus Press, 1981^Atticus Review (with David Quattrociocchi) (A journal of poetry, fiction, graphism and criticism. A very elder statesmen of the experimental underground.Letter, offset, ~50 p. 1981-91, ~ 2xy., #1-21)^# 9, 10, 12, 14, 15, 18^Atticus Broadsides. A lose series of high quality printed sheets with an offset colour outfit. Different sizes, often folded to two. Each publication contains avisual poetry work by Polkinhorn self or from the circle of the AtticusReview.^Travelling with Women. (Poetry experimental) Digest size, phc., 56 p. Atticus Press, 1983^Anasthesia. (Poems) Legal siez, offset, 44 p. Textile Bridge Press, Clarence Center, NY-14032. 1985^Bridges of Skin Money. Computer-generated visual / verbal. Letter, phc., 30 p. → Xexoxial Ed. 1986^Post-Art Int. Exh. of Visual / Experimental Poetry. (with C. → Espinoza, a selec- tion of works from the 2nd Int. Biennal in Mexico) Cat.: 27x21,phc., 33 p. San Diego State Univ. Calexico CA. February 1988^The International Shadow Project (with D. Quattrociocchi) Cat.: Letter, offset, ~Literature:20 p. / Art Gallery, State Univ. San Diego. August-September 1989(Atticus Review): «One of the elder statesmen of the experimental underground.Harry has generated a stack of these mags from the auspice of his MacIntosh. Theediting is very conscientious thoogh he takes many risks and is excited to print thevisual works. This is a telephon directory of the little mag switchboard. Also print anumber of books and broadsides.»(Mega Zines. In: Anti-Isolation [→ Xexoxial], #3-4, 1987. 10 p.)Harry Polkinhorn: The Visual Poem (Essay). In: Score, #7. (→ Hill) Letter size,offset, n.d., ~1988. n.p.Polony, Csaba 410. Webster St. Oakland, CA-94604 USA 1988& P. O. Box 472 Oakland, CA-94604 - “ - 1988↑ 1230 Grant Ave. Box 302 San Francisco, CA-94133 - “ - 1974.............................................................................................................................................................^Left Curve (timely with Richard Olsen) (Voluminous political & cultural magazine