Network Atlas by Geza Perneczky - Ruud Janssen

355our five senses. Along with taste, people don't feel anything. Some people can stillsmell but their heharing is limited: but I'm highly concerned about our seeing... Thehuman eye does not need all the letters in the alphabet. The lines are not typed andset and adjusted to the eye reading... Take these days when we are moving whilelooking at something, either in a car, a bus – or we are looking at something suchas television – or in the third case, where the object seen is stationaly, the we havea clear visual difficulty, then I am very concerned about our five senses being mutilated,and even slowly disappearing... The dissapearance of the act of seeing willcreate the acceptance of artificial eyes, artificial seeing devices, to take the placeof nature characteristic of technology at the moment.»(Bern Porter: an Interview. In: Umbrella [→ Hoffer], Vol. 3, # 5, 1980. 93-95 p.Reprinted in: J. A. Hoffberg: Umbrella 1978-1998, the Anthology. Santa Monica,1999. 63-67 p.)«The Bern Porter Retrospective opened in December, 1979, at the Franklin Furnace,in New York City. From there it traveled to San Jose State University Galleryand to Artworks, a store in Venice, California, before coming to ME in June.When the show closes in August it will die because Exhibition Services of MEdecided it was too limited to be of interest to the people of ME. The New YorkCity and California media likewise ignored the exhibition. As a curator of theexhibition (with J. Tully)I should have realized this, from an experience I had some while ago.Wanting to involve all of my aret firends in ME in the new challanges ofpublication, I assembled a book called ME Moments in New York. Every participantprinted 1000 copies for assembling in 1000 books, except for Bern Porter,who gave me 1000 different pages, culled from other sources. They would havebeen the best page in the book, except that the commercial bookbinder couldn'tget them into his machines fast enough and he threw all of them away and destroyedthem, even removing Bern's page from my dummy book. The Murder wascomplete, and the work's existence was totally denied. (...)Essentially the exhibition is made up firstly, of books that Bern Porter hascreated himself, of which there are some 55, many of them unpublished one-of-akindsin the Museum of Modern Art (which are not part of this exhibition). Hisautobiography I've Left is most accesible, but hard to find. (...)I've know Bern Porter for five years, and I would say that I know him fairlywell of the people who know him. He is the tighest, coldest, severest, most selfishYankee I have ever met, and too, I have found him very humble, very generous,very loving, very supportive. I love Bern Porter, he is a great man.Bern's greatest asset to the world is that he is FREE...»(Charles J. Stanley [→ Pittore]: Bern Porter Retrospective. In: ME, #1. 1980.6-7 p.)Founds by Bern Porter. In: Lightworks (→ Burch), N° 14-15, Winter 1981-82,50-52 p.Margaret Dunbar: Bern!Porter!Interview! (A booklength interview, the book is awork of art in itself, with artists postage stamps, die cuts, rubber stamp images andillustrations.) Dog Ear Press / Maine Writers & Publishers. Harpswell ME, 1981Essays and notes on Bern Porter and his found poetry by Bob Grumman, TomBeckett, Marcel Duchamp, Mark Melnikov, DiMichele, Klaus Groh, + an largeanthology of Porter's visual work. In: Score, #8. (→ Hill) Letter size, offset, ~1988Géza Perneczky: The Magazine Network. The trends of alternative art in the lightof their periodicals 1968-1988. Edition Soft Geometry, Köln, 1993. 100-102 p.