Bibliozine, Part V I appeal to all Yugoslav networkers to continue the communication with friends in the international network by all means, lets organize actions for de blockade.  Let's send proclamations for peace and equal living and art working conditions to the UN, EC, International organizations, art associations and individuals!!! Open World has a very distinctive look.  Editor Kamperelic collages information and graphics sent to him by the network in a style uniquely his own.  The magazine concentrates on projects and exhibition invitations.  Each issue is twelve pages.  Dobrica is as plugged into the network as anyone, and has his finger on the pulse of it's current condition.  Due to it's role as a facilitator of information exchange among operatives, Open World is an effective barometer of the network's mood swings. Perhaps most importantly, with seventy-eight numbers issued in only nine years, the frequency of publication allows us to chart the course on which the network's ship has sailed.  I can't think of a better source, besides Ashley Parker Owen's recent Global Mail, to gather information on mail art shows, projects, and activities of all kinds. In 1992 Dobrica authored the book, Umetnost and Komunikacija (Art and Communication), a two-hundred page paperback work published by Grafopublik in Beograd.  While written in Serbo-Croatian, nearly half of the book is composed of photographs, and because proper names frequently appear, the train of thought can usually be followed.  It covers a wealth of subjects of interest to the networker, including mail art, fluxus, performance, and such eighties networking activities as Net Run, Neoism, and the Mail Art Congresses.  Cost of the book is $20, and those ordering directly from the author should include another $5 for postage. Open World has a new address (the Kamperelic's flat at M. Jankovica 9b has been sold).  All correspondence should be addressed to :  Radivoja Koraca 6, 11000 Beograd, Yugoslavia.  Be generous when ordering.          The following issues of Open World are in the Modern Realism Archive:  Numbers 12, 15, 19, 20, 22, 23, 24, 25, 26, 27, 28, 29, 32, 33, 34, 35, 36, 37, 38, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 59, 60, 61, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75,76, 77, 78. Bibliozine #21 ( March 1994) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular periodical published in connection with research the editor is conducting  for a new book, International Networker Culture:  An Annotated Bibliography.  If you have materials that may be of interest to the project, please send them to the above address.  Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures). For a lecture on, "The Alternative Arts and Associated Forms of Printmaking," presented at the  22nd annual Southern Graphic Conference  in Fort Worth, Texas, I have prepared the following annotated bibliographic to facilitate further reading. General Works on the Alternative Arts Kaprow, Allan.  Essays on the Blurring of Art and Life.  University of California Press, Berkeley.  1993. New book edited by former University of Texas at Arlington professor Jeff Kelley, who organized a Kaprow symposium at UTA in 1988.  Twenty-three of Kaprow's essays from 1958 to 1990 are arranged by decade, marking his evolution from happenings theorist to "an art which can't be art."  The titles of his essays reflect this progression to a "lifelike" art:  Notes on the Creation of a Total Art (1958), The Artist as Man of the World (1964), The Education of the Un-Artist (1971), Performing Life (1979), Art Which Can't be Art (1986), The Meaning of Life (1990).  Happenings  and Fluxus mark the emergence of an American alternative art scene based on closer attention to everyday life and the escape from a commodity-driven artworld. Fluxus Hendricks, Jon.  Fluxus Codex.  Abrams, New York.  1988. Fluxus was an art movement that grew out of a class John Cage taught on Chance Composition at the New School for Social Research in New York City in the late fifties.  It embraced a participatory affordable art  Although it's adherents included such artworld notables as Joseph Beuys, Nam June Paik, John Lennon and Yoko Ono, it's driving force was George Maciunas, who wrote, "Promote living art or living non-art to be fully grasped by all peoples, not only critics, dilettantes, intellectuals and professionals."  The book is a compendium of Fluxus objects produced by collectively and by individuals associated with the movement.          Rubber Stamps Miller, Joni K. and Thompson, Lowry.  The Rubber Stamp Album.  Workman Press, New York. 1978.  Everything you ever wanted to know about rubber stamps and rubber stamp art, with lots of overlap into mail art.  The widespread popularity of this work spawned the publication of the magazine Rubberstampmadness edited by co-author Lowry Thompson.  Both the book and magazine served to open up the field of rubber stamps to a surprising large public.  Rubberstampmadness currently has 30,000 subscribers, and can be found in the many retail stores that now specialize in selling rubber stamps from various sources throughout the country. Nagourney, Peter.  Rubber Stamp Art.  Journal of Popular Culture, Vol. 15, No. 3, Winter 1981.  Page 80-103. A history of the medium as an art form.  "The parallel of rubber stamps with printing methods of various sorts comes immediately to mind, especially since in everyday use rubber stamps perform as a kind of do-it-yourself printing medium." Mail Art Crane, Mike, and Stofflet, Mary.  Correspondence Art:  Source Book for the Network of International Postal Art Activity.,  Contemporary Art Press, San Francisco.  1984.  While this book only traces mail art from it's inception in the mid-fifties until 1980, Correspondence Art remains the fullest explanation of this alternative art movement.  Mail art incorporates a host of marginal art mediums including xerox, rubber stamps, artist's books and publications, artist postage stamps.  Heavily illustrated with photographs and examples of the mail art idiom, the five-hundred page work provides an excellent history, introduces the most active participants, explains the reasons for it's explosive growth.  The book is out-of-print but can be obtained through interlibrary-loan departments. Postage Stamps Mus�e de la Poste.  Timbres d'Artistes.  Editions Mus�e de la Poste, Paris.  1993. The most complete investigation of this new artistic medium which resulted from an exhibition at the National Postal Museum of France.  Seventy postage stamp artists, most of them participants in the mail art medium, are each given a page for the reproduction of their work and an artist statement.   Includes introductory essays on the subject.   (Mus�e de la Poste, 34 Boulevard de Vaugirard, 75015 Paris, France) Zines Gunderloy, Mike, and Janice, Cari Goldberg.  The World of Zines:  A Guide to the Independent Magazine Revolution.  Penguin Books, New York.  1992. Be it fringe culture, comics, travel, sex, science fiction, hobbies, punk, or literary, there are subcultures being exposed everyday by  participants writing for other participants.  Zines were started in the thirties by fans of science fiction on mimeograph machines but has expanded to subcultures of all stripes on personal computers.  Although many of these micro-publications reach only a hundred or so people, many of them can be found described in the pages of Factsheet Five (PO Box 170099, San Francisco, CA 94117-0099), which Gunderloy  birthed and edited in the eighties. Bibliozine #22 (April 1994) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular periodical published in connection with research the editor is conducting  for a new book, International Networker Culture:  An Annotated Bibliography.  If you have materials that may be of interest to the project, please send them to the above address.  Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunications, computer bulletin boards, fax, cassette culture, photocopy, collaborative performances, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures). The editor will be attending a Mail Art Congress in Qu�bec, Canada, organized by Jean-Claude Gagnon, May 18-23, 1994.  The Canada Council on the Arts is supporting the meeting, which will bring  together mail art practitioners from North and South America, as well as Europe.  Ruggero Maggi, Emilio Morandi, Carlo Pittore, Giovanni Strada, Marcel Stussi, Reid Wood (State of Being) and Anna Banana are among those who will be attending the series of panels and performances. The Assembling Magazine: There is a long tradition of the assembling magazine in mail art and associated networks.  The assembling magazine solicits works from contributors and is compiled at a central point.  One of the early Fluxus projects was An Anthology, edited by the poet Jackson MacLow and musician La Monte Young.  In the early seventies Richard Kostelanetz compiled Assembling from unedited contributions .  Later on Pawel Petasz of Poland coordinated the publication of Commonpress, which extended the assembling concept by assigning a different editor for each issue.  Assembling magazines began occurring in Yugoslavia (Total), Switzerland (Clinch), Greece (Eivai Aypio), France (Mani Art), Italy (Bambu), Holland (Afzet), the United States (Data File), and many other places.  Today the tradition continues.  Some recently received issues are reviewed in this current issue. ApocryphA:  Things Hidden Secret, Set Apart.  Number 6.  Spring 1994.  Edited by Sybil Coffey (1242 Huntington Drive, South Pasadena, CA 91030). Fifteen contributors from the United States, Germany, Holland, and Spain comprise this issue.  In addition to the mostly altered photocopied works, there is a section devoted to mail art projects, periodicals, and other sources of information on mail art and networking.  Contributors are asked to send fifty copies ("writing, art, prints, paintings, collages, photos, drawings, crafts, technology...").  In a departure from traditional mail art practice, there is a disclaimer that the founders "reserve the right to edit all contributions."  Guidelines also call for participants to include a self addressed envelope and $2.85 in stamps ($5.50 foreign).  Although this seems a small price to pay for a collection of "original" artworks, remember also that the editor has requested fifty copies from only fifteen contributors, leaving thirty-five unclaimed copies with the possibility of their eventual sale with no compensation to the contributing artists. Mani Art.  Edited by Pascal Lenoir (11 Ruelle de Champagne, 60680 Grandfresnoy, France). "An International Networker Magazine assembling Mail Art works since 10 years."  Each issue has an open theme.  The editor requires that 60 original or copies be sent, as well as postcards.  In return, the contributor receives "the assembled collection of all submitting artists' work."  Each issue contains the work of some thirty contributors reflecting the diversity of the mail art network, with a slant toward Europe. Tensetendoned.  Number 14.  April 1994.  Edited by M. B. Corbett (PO Box 155, Preston Park, PA 18455). The most international of the assembling magazines reviewed here, editor Michael Corbett has received submissions from thirty-one contributors representing the countries of France, the Czech Republic, Hungary, Croatia, Canada, Scotland, Argentina, Spain, Belgium, Germany, Italy, England, and the USA.  This is an assembling magazine in the grand tradition.  Medium and theme are open. A maximum size of 8"x5" is stated.  It describes itself as "an international networker periodical of mail art accumulation and dissemination."  The editor requests 56 "originals, copies, postcards, texts, or 120 artistamps/stickers."  The accumulated work is sent free to contributors.  X-Ray Magazine.  Volume One, Number Two.  Spring 1994.  Edited by Johnny Brewton (Pneumatic Press, PO Box 170011, San Francisco). Slicker then most.  This issue features the work of thirty three contributors including Charles Bukowski, Geof Huth, and mail art practitioners Julee Peezlee, Hardbound Ed, and John Tostado.  It's difficult to tell if some of the contributions are original as submitted, or reproduced to fit the format.  Includes an interview with Jackson MacLow, photographs, original rubber stamp prints, envelopes with such contents as printed cards ("I'm not responsible"), a coat room check, and a booklet co-produced by the editor's Pneumatic Press and John M. Bennett's Luna Bisonte Prods.  This is a quarterly publication with the motto, "...furnishing a painful knee to the cast iron groin of apathy." Bibliozine #23 (August1994) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular periodical published in connection with research the editor is conducting  for a new book, International Networker Culture:  An Annotated Bibliography.  If you have materials that may be of interest to the project, please send them to the above address.  Especially looking for articles on networking and it's various aspects (zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, collaborative performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures). The editor is curating an exhibition of international mail art with the Museum of Beaux-Arts in Havana, Cuba, and is scheduled to install the exhibition, lecture, and conduct workshops in late January 1995.  If you wish to contribute to the show and receive documentation, send work to:  Abelardo Mena, National Museum of Beaux-Arts, Banco de Ideas Z, Calle 19 No. 1362 apto. 15 e 24 y 26, Vedado C. Habana 4, CP 10400 Cuba. Summer Reading: Ackerman, Al.  Blaster:  the Blaster Al Ackerman Omnibus.  Feh! Press (147 Second Avenue #603, New York, New York 10003-5701).  1994.   288 pages.  $15?  (ISBN 0 945209 09 6) Shirk off your worldly concerns and dive into Dr. Al Ackerman's landscape of speculative reality. This is the book I've waited fifteen years for.  Ackerman has been a treasured correspondent for at least that long,  and right from the beginning I have been compelled by his genius.  I don't use the word lightly.  On the few occasions we've met, the conviction has persisted.  I'll never forget the time at Lon Spiegelman's in Los Angeles when he opened the door disguised as Eliot, a deaf mute with rubber mask, draped in a sheet, bare feet, and a magic cane.  Somehow, like his writings, he made the unlikely completely believable, and I sat there like a babbling idiot trying to relate to him.  His TLPs (tacky little pamphlets) have been a mainstay of the mail art magazine network for decades.  Such titles as Moonhead News, Ask Ling, and Haint Digest are classic works of alternative zeal.  One can also find out about the origins of Portland (Oregon) Neoism, and his hijinks with David Zack and Istvan (Monty Cantsin) Kantor.  His "Keynote Address to the Southwest Decentralized Mail Art Congress and Rodeo" is also reprinted, and in one telling passage he relates our own intrepid interplay.  "Let us never forget what John Held, Jr., the organizer of this conference, said to me just before we staggered in here together to start this ridiculous clambake.  He said, 'The people who run this public library where I work are goons.  They're always giving me a hard time.  I'm trying to get on over at the meat-packing plant, so I can blow off this two-bit job.  In the meantime, this nose-candy keeps me going-ahhahaha.  Here have a little more yourself, Al, and let's take a couple of these 'ludes too.  Who knows?  Maybe we can get through this miserable 'Mail Art Congress' without feeling too much pain...'"  The Omnibus is also rife with Ackerman's drawings, which more than adequately compliment his devotion to the demented.           Home, Stewart.  Red London.  AK Press (22 Lutton Place, Edinburgh EH8 9PE, Scotland, UK).  1994.  160 pages.  $15. (ISBN 1 873176 12 0) More satisfying crunch from the High Priest of Sta-press.  Home's third novel (Pure Mania, Defiant Pose) continues his mix of Skinhead rage with Situationist ideology.  Based on the Skinhead series of Richard Allen, Home's style is an homage of pace and pop culture.  Above all, his books are a great read.  The sex and violence flow like the "liquid genetics" his heroes are forever spurting while "pounding the primitive rhythm of the swamps" with males and "femails" alike.  Fellatio Jones, Adolf Kramer, and Wayne Kerr live in a co-op run by the Teutonic Order of Buddhist Youth, who are trying to evict them.  One day Fellatio comes home with a xeroxed copy of the notorious anarchist tract Marx, Christ and Satan United in Struggle, by Kevin Llewellyn Callan.  Jones and Kramer embrace the revolutionary class war appeal of the text, and set out to bludgeon London's upper class.  Messages are left in the blood of their victims such as "Liberty is an extraordinary manifestation of the body.  It is the ability to shit, fuck and suck one's way through life, unfettered by authority."  At the end of the work Central London is set ablaze with the violence of the underclass in "the most important riot to take place on the British mainland since the great uprising of 1780."  Home is nothing if not a purveyor of extreme philosophies.  He championed Art Strike, 1990-1993, with the intention of pushing artists beyond the limitations of their medium.  He ends Red London with the quote from Callan's work, "Art is a bourgeois fraud.  Revolution must be a frenzied destruction, a violent cataclysm without precedent in this benighted era." Shimamoto, Shozo.  From Gutai to Mail Art Networking.  AU (1-1-10 Koshienguchi, Nishinomiya, Japan 663).  1994.  333 pages.  $17.  (ISBN 4 620 30977 X) Shozo Shimamoto was a charter member of Japan's first post-war avant-garde movement and is currently an active mail artist.  Gutai, like Fluxus, which it pre-dated by a few years, has become increasingly recognized as an important component of the contemporary art scene.  Although the book is predominantly in Japanese, it is profusely illustrated.  An introduction in English also offers some insight into the concerns of the book.  "What is art?  We've been led to believe it is that serious process whereby an artist puts into a visual form what is deep in his soul.  But as 'Art' developed, the hierarchy was born, and it took the simple pleasure out of the artistic process so that is was no longer 'fun.'  For a while now I have been communicating with other artists around the world through the medium of 'mail art.'  We send something-anything-in the mail.  The recipient does with it what he will.  It may come back or the recipient may add to it and send it on to someone else.  In this process of 'networking,' I have perceived the emergence of a new form of art which goes far beyond the individual and finds vitality in the flood of expression of the many."  Chapters include, "A Shaved Head Travels the World," "Beauty in the Unbeautiful-The Spirit of Avant-Garde," "Stick a Stamp on a Dry Piece of Squid-That's Mail Art," and "Gutai and the Venice Biennale."  An important overview of Shimmoto's work and ideas that have influenced a new generation of international mail artists.         Bibliozine #24 (August1994) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular periodical published in connection with research on international networker culture.  If you have materials that may be of interest to the project, please send them to the above address.  Especially looking for books and articles on networking and it's various aspects:  zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, collaborative performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures. Modern Realism gallery is currently showing, "Art Above the Embargo," the work of the Yugoslavian Cage group ( Serbian artists Alexandar jovanovc, Nenad Bogdanovic, Sandor Gogolyak, Jaroslav Supek, Dobricia Kamperelic, and Andrej Tisma).  The exhbition is on view until November 9, 1994. The editor is curating an exhibition of international mail art with the Museum of Beaux-Arts in Havana, Cuba, and is scheduled to install the exhibition, lecture, and conduct workshops in late January 1995.  If you wish to contribute to the show and receive documentation, send work to:  Abelardo Mena, National Museum of Beaux-Arts, Banco de Ideas Z, Calle 19 No. 1362 apto. 15 e 24 y 26, Vedado C. Habana 4, CP 10400 Cuba. Hulten, Pontus, ed. (texts by Jennifer Gough-Cooper and Jacques Caumont).  Marcel Duchamp:  Work and Life.  The MIT Press (Cambridge, Massachusetts).  1993.    $75.  (ISBN 0 262 08225 X). For too many years Marcel Duchamp has remained a myth with much written on his work and influence but little known of his day-to-day pattern of living.  I have always considered the inner life of the artist an important component of his total oeuvre.  If an artist has something important to communicate, it starts inside.  This incubation not only manifests itself in the artist's work but in the conduct of his life and his relationship with the world. For the first time we are able to confront the real Marcel Duchamp; the living breathing man who ranged across and changed the face of twentieth century art.  The general public may embrace Picasso as the genius of the age, but while contemporary artists acknowledge his technical abilities, they downplay his influence on the direction of art.  Because Picasso was a painter.  Duchamp on the other hand hated the smell of turpentine, and took the sensibilities of the painter into other areas of the art experience.  Body art, pop art, kinetic art, conceptual art, mail art, installation art:  all these contemporary forms owe Duchamp a debt because of his desire to extend the boundaries of art (and escape the unpleasant smells of the studio experience). The book is a double-faced publication with the least interesting section listing and reproducing the works exhibited by the editor at the Palazzo Grassi, Venice, Italy (in 1993?  The date is nowhere given).  There are better books than this dealing with the works of Duchamp (notably the catalogue raisonn� by Arturo Schwartz). The larger, and more important, portion of the book is an account of Duchamp's life, from his birth in 1987 until his death in 1968.  Duchamp would have smiled at the arrangement of this work.  For it is no straight forward account.  Instead it is arranged as an "Ephemerides on and about Marcel Duchamp and Rrose S�lavy."  This is the miracle that so many Duchamp afficionados have awaited.  Each day (starting midstream of May 18th) is recounted as it occured in selected years.  Therefore, the day of May 19th, describes the salient aspect of Duchamp's life in 1914, 1921, 1924, 1926, 1941, 1942, 1944, 1947, 1958, 1960, and 1967.  This ranges from very short descriptions, such as the entry for 1967 ("The Duchamps and Max Ernst are photographed while sitting together on the terrace of a [Paris] caf�."), to the longer observations of Marvin Lazarus who later remarks on a conversation he had with Duchamp on May 19, 1960.  "Duchamp's motions are a ballet.  Duchamp is friendly. His face however is not volatile...his face seems to sit here-his lips occasionally are pursed; his eyes will squint for a moment.  Nothing dramatic...There is almost a mask-which in most persons you would resent.  However, there is such a feeling of amused warmth and life behind the mask you feel charmed rather than resentful."  And in the entry for 1914, we are told that an article by Apollinaire on this day in the Paris-Journal mentions that Duchamp has become a librarian at Sainte-Genev�ve, "Avoiding the life of a professional painter," the text tells us, "he has this part-time job at the library, which enables him to continue working quietly for himself." It goes on and on, unpaged and without an index.  It is not a scholarly text.  There are no attributions for the anecdotes.  But rather the Ephemeride is a wealth of history on the actual events, published remarks, and second-hand diary observations central to the task of fleshing out Duchamp the man.  The photographic history is alone worth the price of the book.  Some 1,300 photographs illustrate the aspects of his life from reproductions of his work (including cartoons that he drew to make a living in 1909), snapshots of all kinds (on vacation, at work, in performance, etc.), the works of others artists, and even historical photographs representing the figures figuring prominently in the social and political tenor of the times.  We get a real feeling for the people central to his life:  Mary Dreier, Walter Arensberg, Beatrice Wood, Mary Reynolds, Brancusi, Picabia, Man Ray, Andr� Breton, Henri Pierre Roch� (the author of Jules and Jim, and Duchamp's best friend), his second wife Teeny.  These figures appear over and over again like characters disappearing and reappearing upon a stage. Also included are several important appendices:  a Filmography, a Bibliography, a List of Exhibitions, and an Index of Works.  Perhaps most important - a Synchronopticum.  This is a chart beginning in the year of Duchamp's birth and ending in his death, which traces the Art movements (Impressionism to Fluxus), Key events, Selected exhibitions, Selected works, Chess tournaments, Friendships, Residences and voyages, Curriculum vitae, and Events and exhibitions of the Duchamp family.      Some will find the work difficult to use.  They will find it disconcerting to skip from 1914 to 1934 to 1947 to 1954 to 1966 so swiftly.  And then the next day it begins again.  The years sweep by; a chronology rife with holes like that of a aged Swiss cheese.  But persistent reading  unfolds a coherent whole.  Time for Duchamp was inconsequential.  The Large Glass and the Etant donn�s took years to complete.   This work has also been long awaited.  It is a remarkable document.  A classic work on the most important artist of our time. Bibliozine #25 (August 1994) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular periodical published in connection with research on international networker culture.  If you have materials that may be of interest to the project, please send them to the above address.  Especially looking for books and articles on networking and it's various aspects:  zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, collaborative performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of post-war avant-garde cultures. Modern Realism gallery is currently showing, "Art Above the Embargo," the work of the Yugoslavian Cage group ( Serbian artists Alexandar Jovanovc, Nenad Bogdanovic, Sandor Gogolyak, Jaroslav Supek, Dobricia Kamperelic, and Andrej Tisma).  The exhibition is on view until November 9, 1994. The editor is curating an exhibition of international mail art with the Museum of Beaux-Arts in Havana, Cuba, and is scheduled to install the exhibition, lecture, and conduct workshops in late January 1995.  If you wish to contribute to the show and receive documentation, send work to:  Abelardo Mena, National Museum of Beaux-Arts, Banco de Ideas Z, Calle 19 No. 1362 apto. 15 e 24 y 26, Vedado C. Habana 4, CP 10400 Cuba. E-Zines in Cyperspace, Networking Discussions in Indonesia, A Festival of Plagiarism in Scotland, and Slovakian Supplements. Crackerjack Kid, ed.  Netshaker:  Mail Art Cyberspace E-Zine.  Volume One, Issue Three, August 16, 1994.  Internet:  [email protected] (hardcopy available from:  Netshaker, PO Box 978, Hanover, NH) Chuck Welch, aka Crackerjack Kid, has been a leading proponent of extending the mail art experience into cyperspace.  He has proposed to make 1995 the year of Telenetlink, and those interested are encouraged to formulate innovative ways to link the mail art and telecommunication communities.  This issue is devoted to Reid Wood's proposal for a Networker Telenetlink '95 Fax Project and to Honoria's report of the Free Dog Club held May 6-8, 1994, in Italy.  Free Dog organizers Ennio Pauluzzi and Gianni Broi attracted a number of active mail artists, including Giovanni and Renata Strada, Raymondo Del Prete and Franco Santini, Joki Mail Art from Minden, Germany, and H. R. Fricker from Switzerland.  The Congress featured such activities as a mail art show connected with Amnesty International, performances (Strada and Joki), and talks on Electronic music (Pietro Grossi), mail art in cyberspace (Honoria), and computer networking difficulties in Italy (Enrico Bisenzi).  All in all, the existence of this E-Zine is an encouraging development in nineties networking , and will no doubt introduce the principles of mail art to a new constituency.                                                                                                                      Continue to Part VI

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