Date:sun,11may199721:41:49-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                       Subject:yourpoems

ienjoyedyourpoemsfromthecyberstream,nari
.cameacrossthemonubuweb.ienjoyedthehumou
eb,thelanguagethere,theneathtext.here'st
heurlformyvisposite.http://www.islandnet
.com/~jandrews/mocambo/jimvispo.htmwarmr
rofthemandtheirexplorationofpoetryonthew
                       egards,jimandrews



         Date:mon,12may199722:19:34-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                     Subject:re:urlinked

inksas:>>http://www.islandnet.com/~jandr
riendssomewelldeserved>attention.btw,ies
://www.islandnet.com/~jandrews/mocambo/-
ecanadianartistsandin>wackyandwonderfull
oursitebutcouldn'tfindthem.tedwarnellwro
te:>>jim,ihaveyoulinkedintheroominbothth
mocambo>>hopethishelpstobringyouandyourf
thanks,ted.wherearetheselinks?ilookedony

peciallyenjoyyourverycreativeexploration
s>oftheartofletters.nicelitworks,too.wil
ews/mocambo/jimvispo.htm-jimandrews>http
                      lvisitagain.>best,



         Date:mon,12may199722:57:22-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                        Subject:re:vizpo

.opentoyour>suggestions.besttoyou,buddy,
forever.butthatdoesn'thappenoften.moreof
otographofaterrificliteraryspacecalledth
age.isupposeit'smuchthesameaswithacquiri
lity.likewhat...hhherm.we'llprobablyhave
itifyougotomocambopo(notvispo)andclickth
ofphotoshop.wheniworkedinradioproducinga
hatyoucometowhenyou'reeasyinthemedium.i'

and>possiblywebdynamic/interactive/etc..
thatway.othertimes,particularlywhenthepi
ecedoesn'tpanout,itseemsthestatementexis
tswithoutthenecessarytechniquetorenderit
.thoughitcouldbearguedthatifthepiecedoes
oit'sachallengeforme.afriendofmine,aseat
tlepoetnamedjoekeppler,hasdonesomegreatp
atupgradeto64mbofram...morewouldbenice.i

echniquesasawriter(intheusualsense).buti
geofmind.imeantherealbiggieswhenwechange
hesenseof,say,perspective,orevengettinga
yhearsthem...itseemsthatwiththedigitalar
rdsandanimageoftheglobe.bringouttheghost
oreignforawhileuntilweassimilatethelangu
abitlikethemonkeyatthetypewriterwhenitco
icemix.wouldyouconsiderashowcase>inthero

italrealmfeelsdifferentthanacquiringnewt
'mnotsureofthat.achangeoflanguageisachan
handleontheoptionsofphotoshop.istillfeel
mestodigitalvisuallwork.stillscopingitou
literaryshowthatconcentratedonaudioart,o
toletthatpercolate.i'llthinkaboutit.yout
buti'vemovedtoseattle).iwanttoworkwithwo
tedwarnellwrote:>>hiagain,jim.reallylike

ominfuture,afeatureatmya&tsite(iam>linki
eansofarrivingatastatement.sometimesit's
yourstuff;intelligentand>entertaining,an
n'tpanoutthenthestatement'sexistenceisin
question.treesfallingintheforestandnobod
eglobecafehereinseattle(yes,iamcanadian,
ureforme.i'llprobablyhavetogooutandgetth
tseemsthatacquiringnewtechniquesinthedig

mhonoredthatyou'daskmetoshowcaseintheroo
ngyouthere),and/orsomethingcollaborative
elinksbutton.wellmet,let'sstayintouch.ci
piecesihaveinmindinvolvesphotoshopandaph
m.sure.and,yes,collaborationsareapossibi
rphotographic/artworktonight.somereminde
ivationoftechniquesisimportanttobroadent
neofthelastthingsilearnedwastohearworkin

d.andilikeyourquotethattechniqueisjustam
myheadunscripted,thatsenseofcompositiont
youdogoodwork.thanksagain,ted.justsawyou
tworki'vebeendoingforsomeyearsnowthecult
herangeofpossiblestatements.oneofthenext
hotographicworkandhe'sgoingtotakethepict
tenwetrysomethingoutinwritinganditfeelsf
t.juststartingtohallucinatewithouttheaid

ngnewlanguageinthevisuall.newlanguageint
oo,ihope.iputalinkintoyoursite.youcansee
dmeofcolville.mostdidn't.strikingwork,te
s,etc.ihaven'tworkedwithphotosverymuch,s
                          aou,jimandrews



         Date:tue,13may199723:06:00-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                        Subject:re:vizpo

ysicistsbeforeandmightagain,butit'shardw
portanceoftechniqueinartisongoing.someti
ed.warnell/second.htmivisitedin600x800on
echnique:techniqueisameanstoanend;techni
utnotanobject.anotherperspective,>idonot
allyforviewingat1024x768orbetter,>butisv
>iinterpretpollack'swordstomean,'artisin
vialotherwise.itakepollack'swordsasanatt

as...i'mnotsure,butyou'reapoettreatingte
ntedbytheimageaspeoplearecomingtoagrowin
inggraphicsintext.>itseemswemightbeappro
wantourtechniquesandmaterialstobecommens
however,ihavevisitedtherebeforeandwillag
mesworkismasterlyinitsrefinedandperhapse
ownplayingit,butnotgrantingitsupremacy.i
achingthesamethingfromoppositepoles.>>if

boutayearagoandjustheardfromhimtheotherd
stuffbuttheflavourseemedtobeoneirecogniz
htheweightofthetext?averyweightytextrend
artingtogetit.thepageitselfasseenfromadi
rs.likeregulartextisn'tsomuchbeingsuppla
mentisnotindependentoftechnique.ihavetho
atmyparallelnotionwebsite,>allofwhichare
atandi'mnotsupposedtoreadit.whatthen?ifi

ntheneathtext,video,sound,etc.isthispiec
uratewithourworldview,eventosometimessur
lpiece?ididapiececalled"letter"whichwasa
extureofthetext.yes?bytheway,ted,it'svis
ughtofpoetryasmybestwayofcomingtoknowsom
nyworkthatpansoutwill/mustcertainly>cont
thananobject.techniqueisnotsomuchlikeour
makestatementsinmywork,butmyworksmakesta

you'reinterested,youcanseemorepoembynari
ain.asamatteroffact,isenttheguysomemaila
.interestinggambit.ibrieflyreadsomeofthe
'mnotreallysupposedtoreadit,thenimbibeth
tementsto>somepeople(iftheworkisinspired
).youcanseethatallofthese>statementscome
tisthestatementhevaluesprimarily,notthet
ededtohighlighttextinordertoreadanything

eredalmostunreadable.what'sup?aconceptua
lettertomyparentsbutthat'smostlyunreadab
gawarenessofthemediummorecomprehensively
eofyours"graphicastext"?uhhuh,thinki'mst
heviewer).put>anotherway,artisaprocess,b
backto,'artisinthedoing'.theissueoftheim
ethings.intheprocessofwriting,asyousay.a
phikatonight,buttheconnectionwastooslow.

,inthelookandfeelofthepageand,ofcourse,i
ndiagreewithyouthatartismorelikeaprocess
notyetpublic.this>workisdesignedspecific
gthematerials.andweadoptourtechniquestow
empttostatetheplaceoftechniqueinart.notd
vocabularyasourgrammar,ourwaysofarrangin
ardtheexpression,formulation,reformulati
beyondourcurrentlimitations.>itstrikesme

ed:lyricalphysicist.i'veenjoyedlyricalph
stance,possibly.textalmostastexture.thet
aintheartthatinspiredit,andthusinspirest
passandenlargeourworldview,allowustogrow
xt>asagraphic,whileiamavisualartistbuild
o,>hereisoneveryrecent,postedatmysitebut
thedoing',butnot>theworkitself(althougha
linkedatthebottomofmyexhibitionnotes.als

iewableatanyrate:itriedtovisitpostypogra
ay.smallworld.>http://www.logicnet.com/t
my14inchscreen.itseemeddesignedsothatine
venuniquetechniquewhilebeingvacuousortri
queisameanstoarriveatastatement.butstate
worksat>postypographika,thebirdhouse,and
orkandthetypewasverysmall.ok,soyouknowth
leandthemainmessageisinbigbeautifullette

on,statementandrevisionofourworldview.we
eatmospheresofthepresentation?playingwit
                  po,notvizpo.ciaou,jim.



         Date:wed,14may199712:37:14-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                         Subject:meaning

nt,then"noarthappens"inyourwork.i'mjustf
tedwarnellwrote:>>at11:06pm97-05-13-0700
eisameansto>>arriveatastatement.>>techni
queiscraft,imho,andshouldbedownplayed.fo
waysofarrangingthematerials.andweadoptou
avethoughtofpoetry>>asmybestwayofcomingt
nsofartandvisiondistinguishedfromcraftan
statetheplaceoftechniqueinart.notdownpla

ntthat>itmakesthestatement(whichidonotma
mitations.>>statementisnotindependentoft
hnique:techniqueisameanstoanend;techniqu
keaprocessthanan>>object.techniqueisnots
four>>worldview.wewantourtechniquesandma
w,eventosometimessurpassandenlargeourwor
ustso>muchsemantics;)whatisatstake?notio
ownworkandinmyapproachtothe>workofothers

rtechniquestowardthe>>expression,formula
hestatementhevaluesprimarily,notthe>>tec
artandlife.just'semantics'?don'tthinkso.
echniquewhile>>beingvacuousortrivialothe
ollowingyourreasoninghereandapplyingyour
tstatementisnotindependentoftechnique.ih
ke)possibletobereflected>inthework(ifata
rwise.itakepollack'swordsasanattempt>>to

ownconclusiontoyourapproach.duchamp?>>bu
echnique,then,but'colored'byit>asmeaning
,youwrote:>>>theissueoftheimportanceofte
goingtodoanythingforanyoneanyway,nomatte
rhowwell'executed').if"noarthappens"when
rmyself,itis>writtenoffentirely,bothinmy
.techniqueissignificantformeonlytothepoi
terialstobecommensuratewith>>ourworldvie

omuchlikeourvocabularyasourgrammar,our>>
ldview,>>allowustogrowbeyondourcurrentli
dtechnique.notionsaboutwhat'simportantin
thestatementisnotmadeandyoumakenostateme
asyousay.andiagreewithyouthatartismoreli
ll,butifnot,thennoarthappened,soitisn't>
oknowsomethings.intheprocessofwriting,>>
iscoloredbygrammar.ofcourse,allofthisisj

asterlyinitsrefinedandperhapsevenuniquet
tion,reformulation,statementandrevisiono
chniqueinartisongoing.sometimes>>workism
yingit,butnot>>grantingitsupremacy.itist
                              ciaou,jim.



         Date:wed,14may199718:16:33-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                     Subject:re:newvispo

atitudetowardthecreationofmeaning.whilea
itupandlosecontrolatacertainpoint.contro
lfreaksdon'tseemtomakegoodartists.hopeth
themeaningthattheyinferinthework.andthat
implytoexpresstheusuallycorporatebentoft
responseiamseeking.thismaybeatypicaldiff
hatido.iagreewithyouthattheviewercreates
>iwasreadytopackitintonight.itisverylate

waytowork)inthiswork,>omlytheprocessofdo
that'strueinwriting,too,buti'mmorefluent
work,thatitisyour>perception,thoughtproc
work>thatismostimportant.allyousuggestis
ofbeinginmorecontroloverthemeaningtheysu
iworkatphotoshopandcoreldraw,imayhavesom
ethinginmindwhenistartoutbutit'schangedc
enthecasethatavalidinterpretationhasvect

ngtheartistwasconsciousof.ontheotherhand
orrectinallyouaresuggestingregardingthis
hing)fromitisthepoint.ifyoulookatitandta
workshouldgivepeoplelotsofmotivationandl
poemorworkisopentointerpretation,it'soft
takeyboard.writersatleasthavetheillusion
photoshop.it'sacauseofconcernbutalsofasc
herereallyisnostatementbymetoyou(myusual

llybesneeredatasbeingirrelevant,amonkeya
ning,multipledirectionsofpossiblemeaning
ocessisfascinating.althoughiscrapmostofw
ingthework(forme)andtheactofviewingitfor
lyisyourdoing.thatyoutake>something(anyt
--thanmayberoutineinvisualwork.iknowwhen
inationtome.forinstance,iamconcernednots
edtoaddtomyearlierresponse.tosayyouare>c

ess,interpretation,andstatementaboutthis
hatthestatementisfinallylessinmycontrolt
inthelanguagethaniamwithdigitaltoolslike
oredonsomeofthepossibledirectionsofmeani
oneofwhatyousuggestwasintended,perse.>>t
you.>whatyoutakefromit(mostofmywork)real
erencebetweenwritersandthosewhoworkinthe
ggest--evenmultiplemeanings,vectorsofmea

,aswilliams.burroughsobserved,thereisnow
possible,andthisissignificant,>althoughn
kenothing,>that'sok,too,foryou,butnotthe
hanwheniwritelikethisorwriteotherthings.
hesoftwareanditseffects,filters,etc.ishy
hereandi'vebeendoing>thisallday,butiwant
visual.awriterwhosaidsuchathingwouldusua
awayfromthecorporatelookandfeel.butthepr

onsiderablyintheprocessofdoingtheworksot
hitemagic,noblackmagic,onlymagic.youstir
                     isfindsyouwell.jim.



         Date:wed,14may199719:50:13-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
                           Subject:modus

ihaven'tstartedworkingwiththemyet.andthe
k.sothat'spartofthecontextofvispo.imoved
rearesomefreefontsthere.theonlyreasonfre
nbedonewithcascadingstylesheetsthatarefa
ivedrealism.andilikedthesquaresdealingin
ihaveanytaste.asharleyparkeroncesaid,"go
soconcerningwhat'stypicallyonit--andthen
spiritofpoetryandsoundpoetryandgraphical

liketobeawareof,livinginacitysuchasvicto
re'sagreatdealofpassionate,imaginativewo
rkdoneintheearlyphase,whichisprobablywhe
at"withoutmakinganyvaguegeneralizationsi
ithinkofourcontactwiththefellowinargenti
hasfascinatedmeforsometime.wenowmakepage
yourworkandalsoaconcernwiththe'neathtext
alinki'vebeenmeaningtogiveyouforacoupleo

irlyinteresting.thedriftisthatyoucandoal
there'stheactiveelementofviewingacompute
oundwork,etc.,soitchallengesandexcitesme
sibilities.newinwhatways?merelytechnical
na--isacontinuationoftheelectroniccommun
eetheinfrastructureofpublishinganddissem
meetpeopleanddiscoverworkthatifindexciti
it,tospeculateonwhereit'sgoing,andtoatte

becausesincethey'refreelyavailableyoucan
phikatodayandlookedupyourworkthere.themo
tifs,ofcourse,areconsistentwiththeotherw
orki'veseen.ilikethewayyourworktreatsthe
quiteunlikeasciiartinthatpeoplearealways
iiartassomekindofdementedexcerciseindepr
ewworkincertaincontextswhereoneisexpecti
nditsdifferencesfromthepageorthetelevisi

ss,andit'squitewellsuitedtomyownpeculiar
dicallyoverthenextfewyears.ithasbeenvery
hardforme,asawriter,tocontactthepeoplein
recompany,somyinvolvementintheinternetis
moreorlesscomplete.itseemstohavebeenthec
rewe'reatnow.it'squiteexcitingtobepartof
mpttoacclimatizeimaginativelytothenewpos
icationsofthelastcentury.also,pagedesign

interestedliterarytheoristsforsometime.i
heydon't.andtherearesomeexamplesofwhatca
estionsconcerningthenatureofart.ofcourse
,atermicoinedtodescribeallthestuffonthep
omputer.i'minterestedintheplayoftheworda
intensity.why?well,becauseienjoytheproce
fdaysiswww.microsoft.com/truetypeinparti
ellitiswe'redealingwith.iwassurprisedatt

ivestheimpressionofsomesortofmartianart.
asyousay,thereisnostatement.butwait.tovi
bilitiesopenup.neitherdoiliketothinkthat
tmuddy,overviewofmine,andnow>i'dliketokn
gnitivelytothenewmedium.we'reatquiteanea
naturegiventhatidoprogramming,iwrite,dos
tryingtoreproduceshapesfromtheworldinasc
thepermutationsof1through5.thewholepageg

ngartsuchasagallery...onecanthenplayonqu
onmanylevels.i'vebeeninterestedinmediafo
ogyofsouthafricanpoetrysaidsometimeagoth
moreorlessexpectpeopletohavethemontheirm
iredgraphicssuchasoverlayingtextontext.w
dintosoundworkonthecomputer).andinprogra
inationofallsortsofinformationchangingra
ways?no,idon'tthinkso.ulibier,inananthol

internet.soinasensethatglobaldimension--
eetsmaybeofinteresttoyou.theyaretome,but
hesensuousqualityofthepiecethatproceedsw
tthecontentofanewmediumisalwaysanoldmedi
onscreen(notjustintermsofresolutionbutal
mming,mathematics.iseethescreenasofferin
justopeningup.iwouldliketocreateworkstha
onaldimensiontopoetry."thatwaspriortothe

sthattheworldhasneverseenbefore.howtorea
dthem,whatdotheymean?surelythat'spartofy
hich,givenyourwork,ithoughtyou'dprobably
ng,likelittlejewels).goals,hmm.ourfellow
countrymanmarshallmcluhanonceobservedtha
ourinterest,theseissuesseemtohoveraround
cular,thepagesconcerningcascadingstylesh
efontsaresomethingofabigdealinthiscaseis

lsortsofthingswiththemthatpreviouslyrequ
eallyunderstandidon'tknowwhatartis.possi
odtasteisthefirstresortofthewitless."the
.ihavegiven>youafairlycomplete,ifsomewha
owabouthowyoudoit,whatareyourgoalswithth
eseandfindthemto>beintricateandfascinati
rlyphaseofouracclimatizationtothescreena
riawherelifeissomewhatinsular.soiseethei

downtoseattlerecentlyandhaveajobasatechn
aseinthepastthatwhenanewmediumarises,the
agethat'sinasenseneaththepage.thesubtext
achinesorpointthemintherightdirectionift
beinterestedin.iwasabletovisitpostypogra
,idon'tknowwhatartisandi'matmybestwhenir
defendersoftastearereallyasorrylot.>plea
e>vispoworks(iamespeciallyinterestedbyth

gfascinatingartisticpossibilitiesthatare
ralongtime.print,radio,theinternet.andis
,mostly.andi'mworkingforaninternetsoftwa
tcanbesaidtrulythatthereisnowaninternati
ithstraightcoloredlines(cultureclutter).
setellmemoreaboutyourapproachtoyourworks
nternetasofferingallsortsofopportunityto
icalwriter.i'vebeenastarvinwriteruptonow

pageorthescreenorthescrollorwhatevertheh
umuntilpeopleacclimatizeimaginatively,co
ndimageandsound(thoughihaven'tyetventure
r).i'veworkedinradioandprintandnowonthec
tareperfectlyathomeinthenewmedia,wouldli
ketocomposeworkthatisanimatedbothwiththe
eededtocontact,eventobeawareoftheworki'd
ng,suchasourconversationandseeingyourwor

        t'llbetheneathtextnext.ciaou,jim



         Date:wed,14may199720:24:03-0700
             From:jandrews@speakeasy.org
             To:ted.warnell@logicnet.com
   Subject:re:meaning:perspective:spirit

inginwritingiwaspleasedwith,there'sbeenc
llofthisisjustso>>>muchsemantics;)>>>>wh
arealanguageofimage,aniconography,perhap
topursuethiscourse,butperspective,>wefol
idandwhatisunderstood,whatcreated/discov
tedwarnellwrote:>>at12:37pm97-05-14-0700
erenceforawriterandavisualartist.>forawr
,ifeelishouldqualifythisbysaying,asyouha

andintherealmsofvisualart.sothereareprob
pwasoneheckofinterestingartist:)samehere
.veryinterestingworksagainstthegrain.pas
lowitbecauseitisstimulatingandwehavethet
spire>theviewer.isuspectthisisprobablytr
ndyetreachoutbeyondourselvesforunderstan
endentoftechnique,then,but'colored'byit>
atisatstake?notionsofartandvisiondisting

ithouta>statement,withorwithoutatechniqu
eratinginthemediaandinwhatimagesmeantous
dtechniques)inwritingtolearnandovercomet
lifeanddeathimportant.nohaseverdiedfroma
badrendering:)>itisimportantthatwechoose
regimeinthefifties.hesaysthepeoplewhosur
vivedweretheoneswhokeptuptheirintellectu
didn'ttendedtowasteawayanddie.soreallyit

iterithinktechniqueisnecessarilyofgreate
?mosteveryonespeaksandcanread.wesharethe
languageofthewordtoalargerextentthanwesh
thmyownindividuality,withmyself,theni've
thothers.themysteryofyouandmeandwhatissa
atiscommunicated,whatisshared...thisisap
tations.yes,wheneveri'vecomeupwithsometh
antics'?don'tthinkso.>>artissomethingtod

lewherethestreetsarepopulatedwithhomeles
streets,makingloveinthedoorways.ihearalo
vepointedoutin>younextemail,thereisadiff
enpurelyfromthepointofviewofthe>visualar
ineinspirationoftheartistifitisgoingtoin
uishedfromcraftand>>technique.notionsabo
ed"myhappydaysinhell"abouthisstayinahung
ongruencewiththesource.>btw,ithinkducham

haninthevisualrealm."aworkmustreflectthe
ementisnotmadeandyoumakeno>>statement,th
arianconcentrationcampduringthecommunist
speoplesinginginthestreets,drinkinginthe
'samatterofthespirit(whichislifeanddeath
ueforcreativewriting,too.>whatdoyouthink
ding,beyondourselvestoothers,pastourlimi
tantiartintonoart.>>>statementisnotindep

>>asmeaningiscoloredbygrammar.ofcourse,a
tofsinging.georgefaludywroteafabbookcall
al/spiritual/artisticpursuits.theoneswho
conclusiontoyourapproach.>>duchamp?>>yes
s.thoughtherecertainlyareiconographiesop
rsignificance.>mystatementsthusfarhavebe
onreferstobreath.whetherourownorfromsome
ablymorestandardexpectations(morestandar

genuineinspirationoftheartist."inspirati
,youwrote:>>>if"noarthappens"whenthestat
en"noarthappens"inyourwork.i'mjustfollow
e.yes?ijustmeanaworkmust>refelectthegenu
externalsource.wheni'vebeenmostintouchwi
feltlikeadropofwineinthebottle,intouchwi
ered,whoweareseparatelyandwhotogether,wh
utwhat'simportantinartandlife.just>>'sem

o,forme,anoblething,creative,butitisn't>
imeandmoney>andprivilegetopursuestimulat
tist.about"noart":ifnonethennone,withorw
ion.noteveryonedoes.iliveindowntownseatt
ingyour>>reasoninghereandapplyingyourown
rofoundmystery.weacknowledgethismysterya
                            ).thanks,jim


            

Date:monmay1200:12:251997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:yourpoems

egards,>jimandrewsgladyoufoundme,jim.ivi
edoing,vizpoandthewebworks,andneath...in
at09:41pm97-05-11-0700,youwrote:>ienjoye
elanguagethere,theneathtext.>>here'stheu
rossthemonubu>web.ienjoyedthehumourofthe
mandtheirexplorationofpoetryonthe>web,th
findtimetomorrow.i'dalsoliketoaddalinkto
om/~jandrews/mocambo/jimvispo.htm>>warmr

dyourpoemsfromthecyberstream,nari.cameac
eedtocomebacktocompletemyvisit,andhopeto
sitedbrieflythiseveningandilikewhatyou'r
yoursite,maybemore.thanksforthenote.best
rlformyvisposite.>http://www.islandnet.c
toyou,ted,calgary



Date:monmay1213:57:571997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:urlinked

etters.nicelitworks,too.willvisitagain.b
:http://www.islandnet.com/~jandrews/moca
jim,ihaveyoulinkedintheroominboththecana
elldeservedattention.btw,iespeciallyenjo
yyourverycreativeexplorationsoftheartofl
pethishelpstobringyouandyourfriendssomew
mbo/jimvispo.htm-jimandrewshttp://www.is
dianartistsandinwackyandwonderfullinksas

landnet.com/~jandrews/mocambo/-mocamboho
est,ted



Date:monmay1217:10:451997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:vizpo

/interactive/etc...opentoyoursuggestions
ethingcollaborativeandpossiblywebdynamic
entandentertaining,anicemix.wouldyoucons
iderashowcaseintheroominfuture,afeaturea
hiagain,jim.reallylikeyourstuff;intellig
tmya&tsite(iamlinkingyouthere),and/orsom
.besttoyou,buddy,youdogoodwork.ted



Date:tuemay1303:15:341997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:vizpo

28mwon'tbeenough...>itseemsthatacquiring
doing',butnottheworkitself(althoughanywo
onight.some>remindedmeofcolville.mostdid
tement.>sometimesit'sthatway.othertimes,
at10:19pm97-05-12-0700,youwrote:>thanks,
oesn't>happenoften.moreoftenwetrysomethi
eartthatinspiredit,andthusinspiresthevie
fmine,aseattlepoetnamedjoekeppler,hasdon

inthebackofyourmindforawhile.let'sseewha
et'sstayintouch.>>ciaou,>jimandrewsitstr
ikesmeas...i'mnotsure,butyou'reapoettrea
datmyparallelnotionwebsite,allofwhichare
linkedatthebottomofmyexhibitionnotes.als
ableatanyrate:http://www.logicnet.com/te
oom).havefun.mynewa&tfeaturegoesuponthur
>wouldbenice.photoshopv.3.0willrunnicely

ary>techniquetorenderit.thoughitcouldbea
verymuch,soit'sachallengeforme.>afriendo
h'canadianartists',andoffofthisis'morear
ain,ted.justsawyourphotographic/artworkt
ted.wherearetheselinks?ilookedonyoursite
y'artresourcesandexhibitionsites'pagewit
statement'sexistenceisinquestion.trees>f
nterpretpollack'swordstomean,'artisinthe

adentherangeof>possiblestatements.oneoft
hemonkeyatthetypewriterwhenitcomesto>dig
nlycomeintime,eh?>i'mhonoredthatyou'dask
eawhileasi'mbookeduntilaboutaugustorsept
d.warnell/second.htmthisandotherworksatt
hattechniqueisjustameansofarrivingatasta
rguedthatifthepiece>doesn'tpanoutthenthe
pandaphotographofaterrificliteraryspacec

alledtheglobe>cafehereinseattle(yes,iamc
orkwithwordsandanimageoftheglobe.bringou
otakethepictureforme.i'll>probablyhaveto
newtechniquesinthedigitalrealmfeels>diff
erentthanacquiringnewtechniquesasawriter
's>muchthesameaswithacquiringnewlanguage
shop.wheniworkedinradioproducinga>litera
elastthingsi>learnedwastohearworkinmyhea

pproachingthesamethingfromoppositepoles.
allingintheforestandnobodyhearsthem...ii
erealbiggieswhenwechangeforever.butthatd
inthevisuall.new>languageinthesenseof,sa
dunscripted,thatsenseof>compositionthaty
ember.itwillhappen,though.>and,yes,colla
i'llthinkaboutit.youtoo,i>hope.yes.putit
ynicesiteandi'mhappytobethere.>wellmet,l

o,hereisoneveryrecent,postedatmysitebutn
lyforviewingat1024x768orbetter,butisview
thelinksbutton.andmanythanksinreturn.ver
butcouldn't>findthem.noproblem.mylinkspa
rm.we'll>probablyhavetoletthatpercolate.
anadian,buti'vemovedtoseattle).i>wanttow
gooutandgetthatupgradeto64mbofram...more
on32mandamodestpentium.forv.4.0,though,1

ngoutinwritinganditfeels>foreignforawhil
buildinggraphicsintext.itseemswemightbea
ynetfindsforthisweek,andthenintheresourc
gesareofftheexhibitionnotespage.thereism
alartworki'vebeendoingforsomeyears>nowth
ttheghosts,>etc.ihaven'tworkedwithphotos
changeoflanguageisachangeof>mind.imeanth
metoshowcaseintheroom.sure.great.itwillb

borationsareapossibility.likewhat...hhhe
eitifyougotomocambopo(not>vispo)andclick
t10:57pm97-05-12-0700,youwrote:>thanksag
rkthatpansoutwill/mustcertainlycontainth
tosomepeople(iftheworkisinspired).youcan
henextpiecesihaveinmindinvolves>photosho
y,perspective,orevengettingahandleon>the
n't.strikingwork,ted.andilike>yourquotet

esomegreat>photographicworkandhe'sgoingt
ifyou'reinterested,youcanseemorepoembyna
ldinggraphicsintext(morethanothersinther
sdaymorning.yourvizpositewillbelistedinm
tementsinmywork,butmyworksmakestatements
optionsofphotoshop.>>istillfeelabitliket
italvisuallwork.stillscopingitout.justst
riworksatpostypographika,thebirdhouse,an

tseemsthestatementexistswithoutthenecess
nobject.anotherperspective,idonotmakesta
seethatallofthesestatementscomebackto,'a
rtisinthedoing'.>itseemsthatwiththedigit
artingtohallucinate>withouttheaidofphoto
ryshowthatconcentratedonaudioart,oneofth
oucometowhenyou'reeasyinthemedium.itcano
hesesitesareanexampleofwhatimeanaboutbui

tsresources...'and'wackyandwonderful'.>a
particularlywhenthepiece>doesn'tpanout,i
wer).putanotherway,artisaprocess,butnota
(intheusual>sense).buti'mnotsureofthat.a
tturnsup.>iputalinkintoyoursite.youcanse
otyetpublic.thisworkisdesignedspecifical
ecultivationoftechniquesisimportanttobro
euntilweassimilatethelanguage.isupposeit

tingtextasagraphic,whileiamavisualartist
es,permanently.ted



Date:wedmay1401:53:191997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:vizpo

thinki'mstartingtogetit.thepageitselfass
course,allofthisisjustsomuchsemantics;)>
einart.notdownplayingit,butnot>grantingi
exture.thetextureofthetext.>yes?you'rege
at11:06pm97-05-13-0700,youwrote:>theissu
wserto640x480).heretheartistrulyinthedoi
oanend;techniqueisameansto>arriveatastat
ardthe>expression,formulation,reformulat

ocabularyasourgrammar,our>waysofarrangin
ion,statementandrevisionofour>worldview.
justheardfrom>himtheotherday.smallworld.
not>reallysupposedtoreadit,thenimbibethe
adableandthemainmessageisinbigbeautiful>
itunreadablebydesign.textastexture,ilike
ng(theactofviewingiscreation)butnotinthe
anan>object.techniqueisnotsomuchlikeourv

lored'byitasmeaningiscoloredbygrammar.of
ond.fabioisabusyguy,butayeardoesseemlike
lytothepointthatitmakesthestatement(whic
nomatterhowwell'executed').>butstatement
nsuratewith>ourworldview,eventosometimes
heconnectionwastoo>slow.however,ihavevis
itedtherebeforeandwillagain.asamatter>of
thesiteisinargentina,sometimesslowtoresp

alpiece?>>ididapiececalled"letter"whichw
thispieceofyours"graphicastext"?>>uhhuh,
yit,viewingat800x600andthenshrinkyourbro
buttheflavourseemedtobeonei>recognized:l
istsbefore>andmightagain,butit'shardwork
highlighttextinordertoreadanything.inter
estinggambit.>ibrieflyreadsomeofthestuff
growingawarenessofthemediummore>comprehe

ly,bothinmyownworkandinmyapproachtothewo
rkofothers.techniqueissignificantformeon
atmospheresofthe>presentation?playingwit
ttingtherewiththiswork.yes,itisunreadabl
that.thepage,piece,allisvisual,agraphici
e.>bytheway,ted,it'svispo,notvizpo.yousa
eoftheimportanceoftechniqueinartisongoin
tisnotindependentoftechnique,then,but'co

htheweightofthetext?averyweightytext>ren
ourse,inthe>neathtext,video,sound,etc.is
e.noitisn'tsupposedtoberead,perse,althou
ghyoumightcatchpiecesoflucidtexthereorth
deredalmostunreadable.what'sup?aconceptu
tsupremacy.itisthestatementhevaluesprima
eenfroma>distance,possibly.textalmostast
pstatement,andconsciousnessreframed,take

rdsasanattempt>tostatetheplaceoftechniqu
isnotindependentoftechnique.ihavethought
ings.intheprocessofwriting,>asyousay.and
hscreen.itseemeddesignedsothati>neededto
andi'mnotsupposedtoreadit.whatthen?ifi'm
themainbodyoftextasprocessinghasrendered
magerenderedentirelyintextandhtml,butyou
rily,notthe>technique:techniqueisameanst

wewantourtechniquesandmaterialstobecomme
endedtobeseenat*multiple*screensizes--tr
ytomato,isayvizpo...ok,itisvispo:)>>ciao
dperhapsevenuniquetechniquewhile>beingva
yricalphysicist.i'veenjoyedlyricalphysic
cuousortrivialotherwise.itakepollack'swo
ofpoetry>asmybestwayofcomingtoknowsometh
myothertextworksatparallelnotion,likedee

adifferentapproachtovisual(andtheyareint
surpassandenlargeourworldview,>allowusto
fact,isenttheguysomemailaboutayearagoand
letters.likeregulartextisn'tsomuchbeings
needtoseethisoneinparticularat1024x768to
reallyseeit,thewords,andtheconcept.itdis
processing,anddefinitelynotinthetechniqu
g.sometimes>workismasterlyinitsrefinedan

ement.techniqueiscraft,imho,andshouldbed
hidonotmake)possibletobereflectedinthewo
rk(ifatall,butifnot,thennoarthappened,so
itisn'tgoingtodoanythingforanyoneanyway,
gthematerials.andweadoptourtechniquestow
itriedtovisitpostypographikatonight,butt
andthetypewasverysmall.ok,so>youknowthat
asalettertomyparentsbut>that'smostlyunre

upplantedbytheimage>aspeoplearecomingtoa
ere.actually,thatisaboutallyou'llcatchin
playsbutdoesn't'work'atothersizes.someof
iagreewithyouthatartismorelikeaprocessth
abitofwait...>ivisitedin600x800onmy14inc
ownplayed.formyself,itiswrittenoffentire
growbeyondourcurrentlimitations.statemen
nsively,inthelookandfeelofthepageand,ofc

u,>jim.nicechatting,jim,havefun,ted



Date:wedmay1403:08:011997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:newvispo

ything)fromitisthepoint.ifyoulookatitand
all.ok,so>youknowthatandi'mnotsupposedto
readit.whatthen?ifi'mnot>reallysupposedt
tedin600x800onmy14inchscreen.itseemeddes
at11:06pm97-05-13-0700,youwrote:>itriedt
rdfrom>himtheotherday.smallworld.evenasi
ctionwastoo>slow.however,ihavevisitedthe
edanemailfromfabio,andihavesenthimyourur

eyouhearfromhimsoon.don'tbesurprisedifit
sayyouarecorrectinallyouaresuggestingreg
usualwaytowork)inthiswork,omlytheprocess
sclearasmud...asnoted,itisnowverylateand
again,butit'shardworkandthetypewasverysm
rtoreadanything.interestinggambit.>ibrie
flyreadsomeofthestuffbuttheflavourseemed
ecalled"letter"whichwasalettertomyparent

tobeonei>recognized:lyricalphysicist.i'v
eenjoyedlyricalphysicistsbefore>andmight
xt,video,sound,etc.isthispieceofyours"gr
rse.therereallyisnostatementbymetoyou(my
dfeelofthepageand,ofcourse,inthe>neathte
sciousforawhilenow.thanksforyourinput,ji
enttheguysomemailaboutayearagoandjusthea
landsuggestedhevisitanddropyouanote.ihop

ofdoingthework(forme)andtheactofviewingi
sbut>that'smostlyunreadableandthemainmes
etit.thepageitselfasseenfroma>distance,p
aboutthisworkthatismostimportant.allyous
sageisinbigbeautiful>letters.likeregular
ay,butiwantedtoaddtomyearlierresponse.to
uggestispossible,andthisissignificant,al
i'mbeginningtoflameout.gottagoandbeuncon

isaweek,though,asheisbusyrightnow.>ivisi
wasreplyingtoyouroriginalmessage,ireceiv
textisn'tsomuchbeingsupplantedbytheimage
thoughnoneofwhatyousuggestwasintended,pe
eresponseiamseeking.that'sprobablyabouta
ignedsothati>neededtohighlighttextinorde
ovisitpostypographikatonight,buttheconne
>aspeoplearecomingtoagrowingawarenessoft

rebeforeandwillagain.asamatter>offact,is
itisverylatehereandi'vebeendoingthisalld
oughtprocess,interpretation,andstatement
aphicastext"?>>uhhuh,thinki'mstartingtog
eallyisyourdoing.thatyoutakesomething(an
oreadit,thenimbibetheatmospheresofthe>pr
esentation?playingwiththeweightofthetext
le.what'sup?aconceptualpiece?>>ididapiec

thetext.>yes?iwasreadytopackitintonight.
ardingthiswork,thatitisyourperception,th
takenothing,that'sok,too,foryou,butnotth
hemediummore>comprehensively,inthelookan
tforyou.whatyoutakefromit(mostofmywork)r
?averyweightytext>renderedalmostunreadab
ossibly.textalmostastexture.thetextureof
m.haveagreatone,ted



Date:wedmay1413:37:251997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:newvispoagain

oknowabouthowyoudoit,whatareyourgoalswit
.pleasetellmemoreaboutyourapproachtoyour
imagingwork,andi'dliketohearmoreaboutthi
works.ihavegivenyouafairlycomplete,ifsom
ing,likelittlejewels).youmentioned,too,t
hatyoumightbelookingmoreintosomephotoand
jim,consciousagainandthinkingmoreclearly
theseandfindthemtobeintricateandfascinat

hthevispoworks(iamespeciallyinterestedby
ewhatmuddy,overviewofmine,andnowi'dliket
s,ifyou'reready.thanksagainforthiscontac
t.besttoyou,ted



Date:wedmay1420:27:311997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:meaning:perspective

artist.forawriterithinktechniqueisnecess
at12:37pm97-05-14-0700,youwrote:>if"noar
makeno>statement,then"noarthappens"inyou
importantinartandlife.just>'semantics'?d
important.nohaseverdiedfromabadrendering
ourse,butperspective,wefollowitbecauseit
ch.>duchamp?yes,ifeelishouldqualifythisb
does.>ciaou,>jim.thanksagainforthe...sti

l,thereisadifferenceforawriterandavisual
ctthegenuineinspirationoftheartistifitis
entoftechnique,then,but'colored'byit>>as
privilegetopursuestimulation.noteveryone
arilyofgreatersignificance.mystatementst
romcraftand>technique.notionsaboutwhat's
ysaying,asyouhavepointedoutinyounextemai
meaningiscoloredbygrammar.ofcourse,allof

husfarhavebeenpurelyfromthepointofviewof
rwork.i'mjustfollowingyour>reasoninghere
on'tthinkso.artissomethingtodo,forme,ano
:)itisimportantthatwechoosetopursuethisc
thisisjustso>>muchsemantics;)>>whatisats
outhink?btw,ithinkduchampwasoneheckofint
andapplyingyourownconclusiontoyourapproa
thappens"whenthestatementisnotmadeandyou

tatechnique.yes?ijustmeanaworkmustrefele
erestingartist:)>>statementisnotindepend
blething,creative,butitisn'tlifeanddeath
goingtoinspiretheviewer.isuspectthisispr
take?notionsofartandvisiondistinguishedf
one,withorwithoutastatement,withorwithou
obablytrueforcreativewriting,too.whatdoy
thevisualartist.about"noart":ifnonethenn

isstimulatingandwehavethetimeandmoneyand
mulation.best,ted



Date:wedmay1420:35:391997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:newvispo

ng,too,buti'mmorefluent>inthelanguagetha
rtists.>>hopethisfindsyouwell.>>jim.ibel
nating.althoughiscrapmostof>whatido.iagr
at06:16pm97-05-14-0700,youwrote:>thismay
theusuallycorporatebentofthe>softwareand
rthemeaningtheysuggest--even>multiplemea
nsofmeaningtheartistwas>consciousof.onth
.whileapoemorworkisopento>interpretation

ievethatifanactofart(process)isinspired,
thenthatwillbereflectedintheworkofart(re
oreldraw,imayhavesomethinginmindwhenista
rtout>butit'schangedconsiderablyinthepro
instance,iam>concernednotsimplytoexpress
point.controlfreaksdon'tseemtomakegood>a
cessofdoingtheworksothat>thestatementisf
rporate>lookandfeel.buttheprocessisfasci

itseffects,filters,etc.ishyawayfromtheco
nhas>vectoredonsomeofthepossibledirectio
different).>iagreewithyouthattheviewercr
causeofconcernbutalsofascinationtome.for
,it'softenthecasethatavalidinterpretatio
eferingtojustgowiththeflow.thanksagain,t
eotherhand,aswilliams.burroughsobserved,
thavethe>illusionofbeinginmorecontrolove

eatesthemeaningthattheyinferin>thework.a
ethertheartistconsciouslydeterminestomak
beatypicaldifferencebetweenwritersandtho
easpecificstatementornone.ichoosenone,pr
see,think,feelsomethingofmeaningforthem.
isinspired),theviewer*might*beinspiredto
there>isnowhitemagic,noblackmagic,onlyma
onand>latitudetowardthecreationofmeaning

inallylessinmycontrolthanwheniwriteliket
eecompletely(thatliteraryandvisualmustbe
sewhoworkin>thevisual.awriterwhosaidsuch
isualwork.iknowwheniworkat>photoshopandc
sultofprocessandtechnique).ifso,(thework
further,ibelievethatthisisapossibilitywh
sofpossible>meaning--thanmayberoutineinv
elevant,amonkeyatakeyboard.writersatleas

niamwithdigitaltoolslikephotoshop.it'sa>
gic.youstiritupandlose>controlatacertain
nings,vectorsofmeaning,multipledirection
athingwouldusuallybesneeredat>asbeingirr
ndthatworkshouldgivepeoplelotsofmotivati
his>orwriteotherthings.that'strueinwriti
ed



Date:wedmay1423:48:311997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:modus

herewe'reatnow.it'squiteexciting>tobepar
eabove,plustimeiwassurprisedatthe>sensuo
rammer,youwillrecognizestandardlayoutfor
amming,iwrite,dosoundwork,etc.,soitchall
ompany,somy>involvementintheinternetismo
yonit--andthenthere'stheactive>elementof
futile.youwillbeassimilated.-bill,aborg.
elogic.asyousay,>thereisnostatement.butw

writer.i'vebeenastarvinwriterupto>now,mo
at07:50pm97-05-14-0700,youwrote:>alinki'
nthiscaseisbecausesincethey'refreely>ava
plearealways>tryingtoreproduceshapesfrom
hthis.asciiart:iviewthisasanattempttomak
rint,radio,the>internet.andiseetheinfras
t.contact(email)mightverywellbethesingle
hat'spartofthecontextofvispo.imoveddownt

gentina--isacontinuationoftheelectronicc
etome,butihaven'tstartedworkingwiththem>
wpossibilities.agreed,onallpoints.thesea
sitcanbesaidtrulythatthereisnowan>intern
inthiscase,eh?>andilikedthesquaresdealin
isexpectingartsuchasagallery...onecanthe
t.>>ofcourse,idon'tknowwhatartisandi'mat
tothescreenanditsdifferences>fromthepage

epeskyclientsandfolkspayingmyrent,andhad
ededtocontact,eventobeawareoftheworki'dl
ommunicationsofthe>lastcentury.>>also,pa
yet.andtherearesomefreefontsthere.theonl
fthesedays.i'veworkedinradioandprintandn
sinterestedtolookintonewtype.iwillvisitt
agegivestheimpressionofsomesortofmartian
atquite>anearlyphaseofouracclimatization

orthetelevisionscreen(notjustintermsofre
udienceisthecontent.'wasworking'isoperat
ivehereasigotbusywithotherstuff,likethos
toleaveit.iwilleventuallygetbacktoit,tho
>i'vebeeninterestedinmediaforalongtime.p
rdforme,asawriter,tocontactthepeoplei>ne
iketobeawareof,>livinginacitysuchasvicto
internetasofferingallsortsofopportunityt

omeetpeopleand>discoverworkthatifindexci
orkdoneinthe>earlyphase,whichisprobablyw
e.veryexcitingtimes.ibelieve,too,thatiti
d(wearenotyetacclimatized),andsoallissti
,completelywacky,experimentationofcreati
theinternet.so>inasensethatglobaldimensi
forsometime.it'llbe>theneathtextnext.yes
,aninterest.neath(niceterm)isalsofore,an

dforeneath,inthepagesofpoembynari.worksl
yandspecificallyintothepage.thisiswherev
efinitelyaninterestformeinallyousuggest.
enasoffering>fascinatingartisticpossibil
lybydifferent1,browsers,2,typefaces(ofco
viewingacomputer).excellent.iwasworkingo
tryandgraphicalintensity.why?well,becaus
ere'sagreatdealofpassionate,imaginativew

gedesignhasfascinatedmeforsometime.wenow
makepages>thattheworldhasneverseenbefore
heetsthat>arefairlyinteresting.thedrifti
verthehellitiswe'redealingwith.d)allofth
esomethingofnothing,anadmirableambition,
art.uhhh,ok.thanks.aworkbasedonsomesimpl
iketothinkthatihaveanytaste.asharleypark
pproachtoyourworks.ihavegiven>goals,hmm.

utmcluhan!)toillustratethesecondhalfofhi
ow>onthecomputer.i'minterestedintheplayo
itiesthatarejustopeningup.iwould>liketoc
tedbothwiththespiritofpoetryand>soundpoe
work.thenetwillopenmanypossibilitiesando
aseinthepastthatwhenanewmedium>arises,th
on--ithinkofourcontactwiththefellow>inar
e'neathtext,atermi>coinedtodescribeallth

>www.microsoft.com/truetypecool.i'malway
atpreviouslyrequiredgraphicssuchasoverla
intriging.i'dbeinterestedbythepossibilit
ographikatodayandlookedupyourworkthere.>
themotifs,ofcourse,areconsistentwiththeo
usqualityofthepiecethatproceedswithstrai
resignificantdaysinthehistoryofman,isens
llpossible.itmightbethatfuturedefinition

theworldinasciiartassomekindof>dementede
vedrealism'.photographyismoreappropriate
thewitless."thedefendersoftasteare>reall
ourfellowcountrymanmarshallmcluhanonceob
natively,cognitivelytothenewmedium.we're
lclearlydemonstratemcluhan'smeaning.oneo
oseattlerecently>andhaveajobasatechnical
ghtwillcomefromsomeofthereally'outthere'

ationaldimensiontopoetry."thatwaspriorto
vebeenmeaningtogiveyouforacoupleofdaysis
forexample,butnotyetinhtmlexceptbyuseofb
sanoldmediumuntilpeople>acclimatizeimagi
yreasonfreefontsare>somethingofabigdeali
nplayonquestions>concerningthenatureofar
engesand>excitesmeonmanylevels.that'sann
pportunitiesforthosereadytoseizethemomen

stly.andi'mworkingforaninternetsoftwarec
,pushingtheenvelope.thenetisnotyetdefine
forthenetasanewanduniquemediuminitsownri
ike'consciousnessreframed'playwithpagela
urse)andfacesizesettings,3,userscreenand
amplesofwhatcanbedonewithcascadingstyles
sthatyoucandoallsortsofthings>withthemth
ghtcoloredlines>(cultureclutter).asaprog

solution>butalsoconcerningwhat'stypicall
nanewpoembynaripiece(text)basedonsometex
softquoted,"themediumisthemessage"--thea
reateworksthatareperfectlyathomeinthenew
eatmixofinterestsandtalentsyouhavethere.
ways?no,idon'tthinkso.ulibier,inananthol
estuffonthepagethat'sinasenseneaththe>pa
wser,sodependingonfactorscompletelybeyon

atsthepageorthescreenorthescrollor>whate
ginthepermutationsof1through5.the>wholep
therworki'veseen.i>likethewayyourworktre
fthewordandimageand>sound(thoughihaven't
andinprogramming,mathematics.iseethescre
tructureofpublishinganddissemination>ofa
riawherelifeissomewhatinsular.soi>seethe
.howtoreadthem,whatdothey>mean?surelytha

over>aroundyourworkandalsoaconcernwithth
browserdimensions.thisiscodeddeliberatel
gstylesheetsmaybeof>interesttoyou.theyar
iapxassemblylanguage...partofasearchfunc
xcerciseindeprivedrealism.majorharharwit
atartis.possibilitiesopenup.neitherdoi>l
eroncesaid,"good>tasteisthefirstresortof
llsortsofinformationchangingradicallyove

mostdistinguishingeventof90's.maybe.>sot
reorlesscomplete.>>itseemstohavebeenthec
veartists.newinwhatways?>merelytechnical
ogy>ofsouthafricanpoetrysaidsometimeagot
ge.thesubtextinterestedliterarytheorists
hisabitlater.wearemicrosoft.resistanceis
>inparticular,thepagesconcerningcascadin
themontheir>machinesorpointthemintherigh

tdirectioniftheydon't.andthere>aresomeex
tion,ithink.quiteunlikeasciiartinthatpeo
servedthat>thecontentofanewmediumisalway
yetventuredintosoundworkonthecomputer).>
tofit,tospeculateonwhereit'sgoing,andtoa
ttemptto>acclimatizeimaginativelytothene
simportanttobehere(onthenet)anddoingthis
hat"withoutmakingany>vaguegeneralization

t'spartofyourinterest,theseissuesseemtoh
youtbyturningcontroloverentirelytothebro
dmycontrol,thepageisviewedquitedifferent
iewingtheworkbecomesitselfanact.so,yes,d
ughtyou'dprobablybeinterestedin.itsounds
ackgroundgraphics.>iwasabletovisitpostyp
tofmcluhan'sifoundatawebsiteinmexico(abo
ting,suchasourconversationandseeing>your

thisstuffisfun.>ciaou,>jimthanksagainfor
ait.toviewworkincertaincontextswhere>one
exceptwhenwhatyouaretryingtomakeis'depri
mybestwhenireally>understandidon'tknowwh
ugh.itwillbedynamicandinteractive,andwil
media,would>liketocomposeworkthatisanima
dtomyownpeculiarnaturegiventhat>idoprogr
yingtexton>text.which,givenyourwork,itho

rthenextfewyears.agreed.>ithasbeenveryha
ilableyoucanmoreorlessexpectpeopletohave
ytodotypeovertype,whichispossibleinword,
yasorrylot.>>>pleasetellmemoreaboutyoura
eienjoythe>process,andit'squitewellsuite
yourthoughts,jim.



Date:thumay1500:00:341997
From:ted.warnell@logicnet.com
To:jandrews@speakeasy.org
Subject:re:perspective:spirit:mastery

rtist."inspiration>referstobreath.whethe
called"myhappydaysinhell"abouthisstayina
neveri'vecomeupwithsomethinginwritingiwa
at08:24pm97-05-14-0700,youwrote:>tedwarn
d,what>created/discovered,whowearesepara
agesmeantousandintherealmsofvisualart.so
there>areprobablymorestandardexpectation
echnicalwizardry(technique),thatmovesbot

stantiartinto>noart.>iliveindowntownseat
>anddeath).andanotherperspective.wellsta
st.>thanks,>jimlogoninaminute,atmidnight
hesource.eloguentlystated,jim.verylucid.
fyouandmeandwhatissaidandwhatisunderstoo
telyandwhotogether,whatis>communicated,w
phy,>perhaps.thoughtherecertainlyareicon
ithmyself,then>i'vefeltlikeadropofwinein

ndourselvesfor>understanding,beyondourse
spleasedwith,>there'sbeencongruencewitht
hestreets,makinglovein>thedoorways.ihear
unistregimeinthefifties.hesays>thepeople
oureasewithwordswiththisstuff,jim.easebe
hatisshared...thisisaprofoundmystery.we>
atherthanintellectualforce(statement)ort
wasoneheckofinterestingartist:)>>sameher

ographiesoperatinginthemedia>andinwhatim
e.veryinterestingworksagainstthegrain.pa
hungarian>concentrationcampduringthecomm
reallyit'samatterofthespirit(whichislife
,todelivermynewa&tfeature.isurecouldusey
acknowledgethismysteryandyetreachoutbeyo
ingthemostdifficultthingofalltoachieve--
rourownorfromsomeexternalsource.when>i'v

ebeenmostintouchwithmyownindividuality,w
lvestoothers,pastourlimitations.yes,>whe
oneswhodidn'ttendedto>wasteawayanddie.so
ted.ibowtoyourmasteryofbothwordandconcep
ss>peoplesinginginthestreets,drinkingint
rkmustreflectthegenuineinspirationofthea
tlewherethestreetsarepopulatedwithhomele
s(morestandardtechniques)in>writingtolea

alotofsinging.georgefaludywroteafabbook>
itismasterythatmakesitlookeasy.anyway,i'
ellwrote:>mosteveryonespeaksandcanread.w
esharethelanguageofthewordto>alargerexte
thebottle,intouchwithothers.the>mysteryo
hartistandviewer.yes?>>btw,ithinkduchamp
ellectual/spiritual/artisticpursuits.the
rnandovercomethaninthevisualrealm.>>"awo

ibelieveit.iknowit.icountonit.itisthis,r
whosurvivedweretheoneswhokeptuptheir>int
t,sir,verysincerely.thanksagainfortheboo
ntthanwesharealanguageofimage,aniconogra
mgone.thanksagain.best,ted



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