1. SCIENCE-ART FUSION NOTES CONTINUED by Gerald Shepherd
2. LETTER by Robin Kingsburgh
3. ESSAY by Sue Birchmore
4. MISCELLANEOUS NOTES ON THE ART V SCIENCE DEBATE OF MANFRED WING, SARAH MACDONALD AND OTHERS by Dr Christian Eley

1. NOTES WERE PREPARED FOR A GROUP DISCUSSION MEETING IN 1989 WHICH EXPLORED THE DIFFERENCES AND SIMILARITIES OF APPROACH OF ARTIST AND SCIENTIST by Sheila Clarke

1. GLOSSARY FOR AN ESSAY I DIDN'T WRITE by Gerald Shepherd
2. MORE MISCELLANEOUS NOTES by Manfred Wing
3. LETTER by Toby Mulligan
4. LETTER by Wendy Hawkin
5. TELECOMMUNICATION IN ART (FROM 1989 MANIFESTATION)
6. P3 ALTERNATIVE MUSEUM, TOKYO

Array of differently coloured wind socks (colour plus air movements). Designs on air fields etc. Sculpture made to be pulled behind aeroplane (shape plus turbulence). Landing light patterns.

Huge fibre glass flowers correctly coloured and formed and arranged in gallery. Fish fin shapes made from metal tubing and translucent fabric.

Coloured liquids in weightless conditions. Artificial moon put in orbit. Material which creates coloured patterns when ejected into space and reentering the Earth's atmosphere.

The simulation of Venus's atmosphere in controlled conditions on Earth. Ditto Martian atmosphere. Coloured gas clouds in agitated air conditions.

Blank panel heated. Plain sculpture frozen. Empty gallery, but audience feel controlled air currents.

Gallery at the end of the pier. Sculpture on raft left to float free on ocean. Stage on platform in sea, audience watch from shore. Exhibition on oil rig. Designs sprayed onto the White Cliffs of Dover. Photograph from air path of object pulled across water by speedboat (then reverse procedure!).

Study of objects falling from aeroplane — the objects are made from different materials (movement plus air resistance). Sculpture descending from parachute. Free fall ballet. Underwater theatre — the Tempest acted in a water tank.

The construction of coloured fence enclosures. Coloured earth. Designs sprayed on growing corn, (these would change as the corn grows). Mini version of the last named on a head of hair (on a head of steam!). Make designs in earth with plough — with bulldozer (rubble art!).

Coloured brick patterns. Construction of art wall. New Hadrian's Wall.

Create raspberry coloured clouds. Make a cherry coloured lake. Drill holes in the ground. Construct pillars. Study of rock strata and earth movements.

Dog breeding as art. Genetic engineering. Cryogenically treated people tableau. Comatose people tableau.

Vibrating platfom/stage/gallery. Designs made with pneumatic drill. Sculpture of hydraulic devices.

Grids, lattices, scaffolding, arrangements of ladders, arrangements of crosses, wires in space, tubes of coloured water, giant sand clocks, giant candles. artificial stalagmites and/or stalactites, springs in gallery, trellis work, coloured bails in transparent shapes, interior of bee hive magnified to fill gallery, honeycomb walls. Termite mounds in polished aluminium.

Giant birds nests made with differently coloured iron rods, plastic bubbles, exhibition of polythene bags, exhibition of door handles and latches, holes cut into walls and tables, giant spiders web in neon lights, steps, series of differently patterned translucent screens, various nets draped in gallery, net curtains, slatted wood, crazy paving, giant molecules in foam rubber, DNA strands in plastic strips, internal organs in polystyrene. Static explosions in stainless steel.

Arrangements of TV aerials, variations in leaf patterns in one species of plant, plumage variations in lovebirds. Arrangements of wire netting. Arrangements of barbed wire. Patterns of trenches. Marks made in earth with explosive. Plane trails as art patterns. String trails on floor. Vertical rope arrangements.

Integration of mythology and science. — myths represented by machines and optical devices etc. Historical and Literary subjects represented by machines and various other devices.

Exhibition of luminous drawings and/or sculpture in dark gallery. A Punch and Judy show using positive and negative charged abstract sculptures.

Vat in gallery where electroplating is occurring. Sculpture slowly lowered into vat of dye.

Mathematical calculations cover walls, floor and ceiling of gallery. Hole in sculpture is in line with a hole in painting and hole in wall. Infrared beam is shone through holes and sounds alarm when interrupted.

Wires wound round gallery walls and round abstract sculpture inside make a transformer.

Turn gallery floor into etching using acid. Turn gallery wall into giant photographic plate. Coloured gas clouds in gallery partially obscure paintings on walls and sculpture on floor.

Gyroscopic sculpture. Designs on a giant top.

Painter suffering from lead poisoning 'exhibited' next to his paintings and easel.

Designs made on specially prepared gallery surface by sunlight through a lense which replaces window. The sun's path is etched on floor and changes daily. A gallery with all glass walls. Use a periscope to view artwork in a secret chamber. Sculpture moving in Earth's magnetic field. Record melting of a figurative sculpture in furnace.

Night exhibition in a 'haunted' building. Art and the paranormal. Poltergeist ballet. Fusion event where representative from every country is invited to participate. Fusion event with every animal on Earth present. Plant version.

Nuclear transformations as art. Radioactive sculpture, painting (artist!). TV' s mummified and wrapped in bandages. Electronic equipment placed in shrines. Gallery turned into a place of worship for television sets.

Juxtaposition of real flowers and artificial flowers. Juxtaposition of portraits of people and real people. Juxtaposition of objects and photographs of objects. Pinned butterflies or pressed flowers interspersed with art works.

Futuristic costume designs. Fashion show in gallery setting. Clothes made from modern materials or having science inspired designs (ditto hairstyles or makeup). Gargoyles — art plus functional object.

Stuffed animals next to live ones. Interior environment in which fur coats are displayed, live animals scuttle about on floor. Painting at the back of aquarium or aviary.

Sculpture in giant translucent plastic eggs. Abstract sculpture with representational wings (new angel I).

Exhibition devoted to an exploration of the entire spectrum.

Art panels designed to be attached to the sides of railway carriages. The audience is invited to wait at various stations on the route.

An exhibition combining a history of science with a history of art. Science—art sandwich-board (science one side and art the other).

A silent music record for playing in libraries. A black light bulb for creating non-lighting effects.

Blank canvases, audience issued with hallucinatory drugs. Blank canvases, audience issued with brushes and paints.

Mechanical musical device playing in vacuum in glass case. Designs on a treadmill. — audience on treadmill! Floating coloured balls scattered in ocean to map currents. Different depth holes will measure difference in temperature. A flexible ruler draped down the Grand Canyon. Create an artificial Great Barrier Reef. Painted sea barriers.

A painting for displaying in a lift which produces psychedelic effects when the lift is in motion.

Developmental painting based on continental drift. Sculpture that gives an electric shock when touched. Sculpture that gives out a coloured light when touched. Sculpture that gives out various smells when stroked. Shaped sponges placed in tank of coloured liquid which is soaked up to varying degrees. Sculpture fired from cannon (landing in net) (not landing in net).

Non-developmental painting based on absolute zero. Designs made from pebbles, gem stones, flint flakes, slivers of wood etc. Designs made from various types of fungi, lichen, bacteria etc. Sand dune patterns made in wind tunnel. Trampoline floor for gallery.

Fire sculptures — different fires in gallery setting, each burning a different substance.- The subsequent ash would be exhibited in a different gallery. Exhibition dedicated to water and its effects.

Gallery has specially made slippery floor, replicas of Leaning Tower of Pisa are placed on floor and mimicked by accidentally eliding audience. Explosions photographed. Audience given specialty designed glasses which modify in various ways pictures on wall and sculpture on floor.

Exhibition of blueprints. Exhibition of bones (even the artist s!). Painting made with permanently wet paint — continuously and accidentally modified. A painting in permanently wet paint behind glass.

Tear gas in gallery, laughing gas in gallery (nerve gas in gallery). Battle of Waterloo re-enacted using machines as protagonists. Last scene of Swan Lake duplicated by giant machine.

Ultrasonic music composition for dogs (inaudible to humans). Stereoscopic works. Switch one side of gallery, light bulb the other, the entire gallery floor is covered by cable which makes designs on the floor.

Exhibition on a building site — audience walk up ladders and along scaffolding.

It mentioned in the last Ion Exchange that ideas for future group activities would be appreciated — so here's some input.

It would be good if we could go to galleries together to see science/technology related art, or any kind of art at all. This would probably lead to discussion about the exhibition plus perhaps inspiration as a group. I find that although the group has a common interest, we tend to function more as individuals rather than as a whole.

Perhaps for thematic show the people who are interested in showing could get together and discuss what we would like the show to be like as a whole — and aim far a more unified framework rather than just doing our own thing and bringing it together at the end.

I like the idea of having themes fat the meetings and letting people know beforehand what the topic will be.
Maybe we could do some kind of group piece, or at least work in the same space occasionally. Perhaps we could rent a space and do our own workshop? Or arrange a workshop at a venue such as COPYART? There seems to be lots of ideas around — doing pieces based on sound, weather etc. Maybe we could pick one of these and get together and do art rather than talk about it. Only.
 

 Architecture is, I suppose, more art than science. Town planning is more science than art. And both very worthy disciplines, I'm sure, except that unlike the kind of art you find in a public gallery and the kind of science you find in a university lab, we don't get a choice whether to be involved with them or not. And now they've converged (again) to lay waste to my home town.

Birmingham is not a thing of beauty. Brummie though I am, I have to admit it. The Bull Ring, in particular, is a glaring 6Os architectural blunder. Bull by name and by nature, a natural habitat for graffiti artists and muggers, an impossible maze for any but those of resolute mind and able body.

The plans for the all-new Bull Ring, by contrast, will have special facilities for the disabled and parents with young children. Roads which were a hazard to life and limb will become pedestrian precincts. The artist's impressions look spacious, tasteful and elegant. So why do I feel so dismayed?

It's partly an inbuilt distrust of planners. Artist's impressions always look wonderful, but it's often a different kettle of fish when you have to live in the place. In answer to the question, "Will shopping be more expensive in the new Bull Ring?", the redevelopment company assured us that, "The same people, young and old alike, who currently shop in the Bull Ring will continue to be able to shop there." "Yes," I muttered darkly, "as long as they only buy half as much."

It's more than a cynical view of development corporations, though. Even if I believed in the promises of an urban paradise, I'd still be upset. I feel burgled. Even worse, about to be burgled, by very polite burglars who have given me notice about when they intend to strip the place, and promise to make as little mess as possible. It's hot that the goods they're making off with were worth a lot - it's that they were mine. Or I used to think they were.

When I was a child my family moved South. The South and I didn't like each other much, and by mutual consent I left and settled back in my hone city at the first opportunity. We'd both changed quite a lot, the city and I, but I could still more or less recognize home.

If the redevelopment goes as planned, well — home won't exist any more. A part of me will have gone for ever. Not, I admit, a particularly beautiful part, but I don't want to trade it in for an alien city, however attractive, any more than I would trade in my husband for a more glamorous model.

I begin to get a distant inkling of what the ordinary peasant farmers of England must have felt when the Agricultural Revolution arrived, and the land which they had always thought was their cannon heritage was fenced. The message is the same; push off, peasants, there's a profit to be made from this bit of land. So don't start thinking that just because you were born on it you've got any rights over it.

It's frightening to find how little rights we really have over the land of our birth. Most of it belongs to someone else, and even the little bits that we peasants actually have title to are liable to be compulsorily purchased to widen the road, or to have a Channel rail link driven through the back garden. The beautiful hills we used to watch the sun set behind are carved out for stone to build yet more roads, and the moors we used to ramble across are fenced off for the army to trundle tanks around. Even the six-foot final resting place we might assume really is our very own plot of earth isn't so final that it can't be sold off to a developer for 15p.

One of the best bits of lateral thinking I ever heard of was from a university campus. Usually when this sort of thing is designed, the planners map out a neat pattern of concrete paths, which the pedestrians proceed to ignore, wearing muddy tracks across the grass instead. In this case, however, the planner simply grassed the whole lot over. After a few months, when hundreds of trudging trainers had worn a network of tracks, the planner concreted where people had demonstrated they actually wanted to go.

If only someone would come up with the same kind of people-participation in central town planning.

Art and science are the same in that they are both systems for investigation and representation of the universe that the practitioner finds him or herself
in. The debate as to which, is better, or more mature, or more sophisticated is an irrelevance. If you have two bananas you can't say that one is more of a banana than the other.

In general, science is perceived as a more concrete system of representation than art. This is because it appears to tackle more manageable and less abstract concepts. But what about relativity, quantum physics etc.?

The use of chemical formulae to indicate a chemical reaction is as gross an approximation as trying to describe a colour with a single adjective. Both languages of representation are inadequate but as cannon, shared languages they enable communication between different perceptions of the same phenomenon. If we all used different, individual languages for representation communication would become completely impossible.

Neither art nor science can operate in a vacuum. Both are inevitably linked to their socio-political context. While science creates the technology of more and more efficient killing machines, art produces glossy brochures to sell them and propaganda that justifies the ideological system that builds and uses them. Don't kid yourself that you can produce art or do science that transcends the system. The making of art is a conscious or unconscious act of engagement.

Both art and science have been mythologised in the service of an elite group, a priesthood, whether it be religious or secular. We appear to have faith in scientific method, but do we not also have faith in the received wisdom that defines our culture. Both priesthood's have created arcane languages that serve to obscure things from the uninitiated.

The modes of representation are most probably already polluted by the ideology under which they have been developed.

Once a piece of art has been produced, it has -its own existence independent of the producer and is open to interpretation by the audience. The shared language of meaning means that the artist can be more confident that the audience will understand what he is getting at. Since the audience for the scientists "product" tends to be smaller and more specialized, is already initiated into the inner circle, the shared language tends to be more specific and "precise".

 There is a greater or lesser degree of self-censorship. The artist cannot find acceptance unless he works within the representational framework that makes up the common language of perception and interpretation. However, it may be possible, from time to time, to extend the boundaries of the shared language. Like all languages, words and idioms come into and fall out of everyday usage. It is difficult for the scientist to challenge the perceived wisdom of the day. In the end both the artist and the scientist will be inclined to internalize all or some of the ideas of the system (contradictions and all) in order to protect his or her own status and ability to do their work. This could be called pragmatism but it might also be a sell-out. The debate over whether it is easier to bring about change or to work more freely inside or outside of the framework of the existing system is another debate.

It may be necessary to sweep away all the perceived wisdom, all the established ideas in order to see clearly, to disperse the mist of dominant ideas. It may be necessary to dismantle everything in order to put it back together again in a more useful form.

Social skills are not relevant to this debate. Vague generalizations of this nature are pointless. They only add to the problem of pigeon-holing and stereotyping. Both science and art as creative activities require a degree of single-mindedness that might be called obsession or introspection. There are socially-adept scientists and sociopathic artists and vice versa.

A piece of art is a commodity and this may cause the artist to modify the product to fit the market. Markets are created by elites who define "great" and "priceless" art. Is any piece of canvas covered in oils worth $33 million? The external pressure on the scientist is less obviously related to the end-product. External pressure is exerted by those who control the sources of funding, the military, pharmaceutical companies etc. Hence the concept of applied science where science and technology are applied to enhance the profits of large corporations.

The differences between art and craft, and between science and technology are arbitrary and determined by some vague concept of "higher things" or "purity". Disciplines considered to be pure science tend not to have an immediate application and are driven by a search for greater understanding of a phenomenon. Things considered more applied or technological have a more concrete end-product but may still be driven by the same motivation on the part of the scientist (or technologist?). Rug making (perceived as a craft) is only inferior to painting (perceived as a fine art) as a creative activity if there is some received wisdom that one has a higher purpose than the other; in this case the search for beauty as opposed to covering a floor. The idea that one strives for a higher goal is dependent on a definition of that goal, which, in turn, is entirely arbitrary and/or societal/user dependent.
 

I) Science is very much a search for order — do is art, but it also has the function from time to time of confusing, overturning etc. so as to arrive at a truth that is not orderly.

2) Metaphor is a characteristic of art —  not of science. It connects with play, ceremony etc.

3) The objectivity of science is imperfect but still a characteristic of scientific as opposed to artistic thinking.

4) Scientific statements must be verifiable. If this is accepted, science has very strict limits round it — contrast this with aesthetic statements.

5) Certainty and consistency of scientific statements contrasts with the kinds of statements it is possible to make in art.

6) The provisional nature of what is produced by science (and much primitive art) contrasts with the "precious artefact" produced (usually) by artists. Scientific endeavour thus seems more honest and more real.

7) Art and science are both a means of thinking through making.

8) Art and science share a common purpose in the search for truth. The search for the right way to live.

9) Science and art were not separate in the Renaissance — art only attained a high status after intellectual, scientific content introduced. Direct connections included the use of mathematics and the golden section, musical intervals and architectural proportions. Art/science/magic were linked in medieval and early modern times.

10) All problem-solving seems to be similar — solutions are arrived at most of the time intuitively.

.11) Both artists and scientists "purposefully do what is unnecessary" (John Cage, 'Silence'). And both art and science (unlike design and technology) take as long as they need to take. Art and science, like play and religion are all done (most of the time) for their own sakes, they are all ends in themselves.

12) Detachment of the artist when work is going well is possibly similar to that of the scientist.

13) Science can lose touch with reality (arms development. embryo research etc.). It must be checked by philosophical/ethical/religious thinking — aesthetic thinking is part of this.

14) Art can lose touch with reality — high art can (indeed has) become merely
a critique of past artistic practice — it needs to be measured again from time
to time against everybody's experience, not just artists.

15) Morals, ethics, are part of (the most important part) of the thinking of an artist and must be absent from  scientific thinking. For this very reason each is necessary to the other.

36) We all need art of some kind because we all have an imaginative life and art is the means whereby it is kept alive — we do not need science in the same way, though we are very much the poorer f or a tack of scientific understanding.

17) Between artists and scientists there can be envy for the others' achievement or doubt as to one's own "side's" achievement - even a realization of the absurdity of thinking in terms of "sides".

18) There can be bewilderment at the ability of the others to do what they do
— but also occasionally, realization of the extraordinary limitations of the others.

19) Scientific thinking is different from, but can lead to, art, ceremony, ritual and religious thinking. To make art is (often) to celebrate something and to transfigure it.

20) Science is different from art, play and physical prowess — although play can be important in science. Science, is indeed a serious form of play. Endeavours which combine art and science include architecture, history, medicine and teaching (especially language teaching?).
 

AWARENESS = The recognition of sensory stimuli.

SELF-AWARENESS = The recognition of sensory stimuli in relation to a fixed reference point.

CONSCIOUSNESS = The contextual organisation of sensory stimuli (awareness plus language).

INTELLIGENCE = The ability to manipulate suspended responses (information) to sensory stimuli.

IDENTITY = Consciousness plus intelligence.

THE WILL = Nothing.

'PHYSICAL CONSCIOUSNESS'
The energy of a mind system. The law of entropy applies. The human egg has potential consciousness.

'SUPERCONSCIOUSNESS'
A way of increasing the acquisition of knowledge and the means of conceptualizing by artificial methods. A plateau is reached where the language of thought evolves but the brains s mind doesn't. Information is contained and examined outside of the mind's body until a new brain is created which can encompass the extra information and sensation. A distinction is made between the accumulation of information and the 'mind' systems which contain or utilize this information. In this context, the degree or type of consciousness is determined solely by the type of language involved. The 'thinker' is controlled by thought.

'PARACONSCIOUSNESS'
Emotions and feelings etc. introduced (into the universe) by living systems but made manifest by art and culture.

GERALD SHEPHERD

1) A painting has a past and presence entirely independent of its creator.

2) Some styles lend themselves readily to a self-generating art, with the culminating of one initiating the beginning of another.

3) If the subjective fancy of the artist intrudes into a painting, the integrity of this painting has been violated.

4) I find figurative fantasy my most natural mode of expression. Needless to say I do little figurative fantasy work.

5) The attempt at rational harmonisation of disparate ideas and images is an essential element of my art (perhaps of all art).

6) All my works are finished but I do not produce finished works.

7) A painting is basically a tool for research. Most useful in the controlled invention of ideas outside of its artistic context.

8) Per the redefinition of integral elements in an artwork, analysis is needed in some instances and synthesis in others.

9) A painting is merely one point in a continuous process of personal discovery.

10) I spontaneously conceive an idea and then laboriously follow it.

11) I try to limit an inevitable tendency towards an 'art on sleeve mentality'.

12) As a painting evolves my relationship with it continually changes.

13) Taken to obvious extremes, my art should not be aesthetically pleasing.

14) The ultimate reduction equals imagination times mathematics. This is true of all art not only my own.

15). The initial idea only sometimes dictates the final art form.

16) All painting needs some form of discipline to control the necessary tumult of incongruous ideas.

17) I have an independent art; an obvious adjunct to an independent personality.

18) Ideas having diverse origins have different gestation periods.

19) I seek to limit the amount of re-creation (but not necessarily recreation) in the eyes of the spectator.

20) Periods of assimilation, evaluation, reaction and interaction are necessary elements In the creative process.

Painting is never more than an equivalent to what one sees. It is the relation of tones that one records not the actual tones themselves. One can never repeat the beauty of a white cloud in paint nor the dark of trees at dusk.

But painting was thought by Leonardo to be an imitation of nature and this is now continued in some forms of science. Is this playing God?

I am finding out how to see without searching. Instead of running faster and faster to try and catch up with time, myself and the world I am being challenged to be here at once and know in a moment. For this I must be under so much pressure that I? cannot think, work out, analyze and plan. I am finding that perception is the consciousness of your senses acting as they act.

Drawing from life can challenge in this way. The human figure being so difficult to comprehend that one is forced out of thought because one cannot analyze the body part by part and then come to an understanding of the whole. The only way is through the flash of insight that periods of intense concentration can bring. It is in those brief spells of awareness that one understands the figure and that must surely be the reason for observation.

I feel I do not understand so I find out how to — the naming of parts is not an end in itself, as Delacroix said, "learn perspective and then discard it" — through method, through discipline and any way that challenges one into action, brain and all. One must act without thinking how to act, and yet, unlike other living things, with the awareness of what is happening.

There is a continuous process of cause and effect with time, space and movement which we attempt to split in order to work out what is going on, forgetting that we are entirely a part of it; a condition of life.

I am finding that most problems are invented by the intellect to keep it working. This is because we have allowed the intellect to take control of our lives. Actually it is no more than a necessary part of the whole.

When one disallows the intellect to create problems with its continual thinking, you become free to act, perceive and enjoy. There is no problem but a far greater challenge to the body as a whole to pay attention all at once.
 

I am a textile artist and also a mathematics educator (based at Leeds Polytechnic) so my art works are textiles inspired by mathematics. I am particularly interested in the links between art and mathematics, embodied in pattern, sequence and shape relationships.

I have produced textile panels based on the moire or interference patterns between. series of concentric circles and vertical stitched stitches. Each panel in the series starts with a centre circle of fixed diameter,, and there is a constant relationship between the areas of successive concentric circles

According to all kinds of diagnoses, predictions and hypotheses of scientists and media experts, modern media and communication techniques will drastically change the social structure of our society. New codes will determine our perception and our actions. Serious disturbances of the functions of society will or can lead to the crisis of participation, which increasingly excludes the individual from participating in the social process.

Time and space are simply bridged over by the new media, cultures from the other side of the world can be brought into the living rooms of citizens that live on this side of the globe. Live reports of wars or disasters can "comfortably" be followed on the TV screens or radio, the abundance of images and sounds through these media provoke also a disturbance in the relation of what one sees and feels. Images tend to lose their significance.

What can art add to these media or the use of them? How can art reveal the process of perception or communicate through them? All these questions become more and more important as these media determine more and more our ways of communication.

Art/music cannot ignore the new media that are changing our society so rapidly and drastically. If artists stay on their autonomous "art island" one can state that art has come to a point where it has lost all its significance and will become a meaningless instrument for a new middle class.
 
 

This manifestation was constructed of three main elements. One element was the lectures/discourses done by artists or researchers/scientists and the others were Performances/concerts and exhibitions of installations. In this way the artworks could be seen in the context of theoretical models. The lectures/discourses highlighted different aspects of the meaning and influence that electronic media have on art and society.

It is striking to see how the media and the official art circuit ignore developments in the field of electronic art, as this field is strongly growing and reflects very well the developments in our society in relation to the new media. Or maybe it isn't so striking, because electronic arts have characteristics that are contradictory to the rules of the official art circuit. For example, in electronic art transitoriness and instability-are basic words, words that express well certain aspects of the electronic media and also processes that take place in our society, but which are the opposite of security and long term investment. The word chaos has more meaning than ever before in the history of the western world. Instability and chaos are words that express rather well our interest in the dynamic processes that take place on all levels in our society and nature.

The participating artists in the exhibition were Barry Schwartz (US), Heiner Holtappels (Nl), Peter d'Agostino (US) and Stephen Wilson (US). The work of Peter d'Agostino was called "On The Lines" and was presented in cooperation with the Rijksmuseum Twente in Enchede. (who organised an exhibition on interactivity in art at the same time). For this interactive videodisc installation, visitors of the exhibitions were able to communicate with each other by using telephone lines through which sound and image (slowscan) could be controlled. Peter d'Agostino is a professor in communication media on the Temple University in Philadelphia.

P3 Alternative Museum, Tokyo is an experimental research and exhibit body founded by Tochoji Zen Temple as a memorial project to celebrate the 400th anniversary of the foundation of the temple.

P3's opening show in April 1989, 'Synergetic Circus" included continuous workshops and lectures that provided audiences with the opportunity to feel the intuitive world of Buckminster Fuller. 'Synergetic Circus' was an original production of P3.

As defined by the first exhibition, P3 is not a conventional museum but operates like a lab and art institute in search of an alternative feedback loop between cognition and expression.

P3 believes that increasingly severe planetary problems indicate that human understanding of and interaction with nature is seriously flawed. Therefore, instead of focusing on the individualistic or inner subjects, the museum's activities are directed towards the contemporary expression of the relationship between individuals and their environment.

More concretely, P3 introduces expressions and viewpoints that are the result of interaction with the global environment, the metropolis, natural science, technology, politics-economics-sociology, anthropology and geology. The methodology of the museum is inter-media expression.

With this philosophy, P3 emphasizes collaboration with various artists. In addition to exhibiting the results of our research, P3 will produce lectures, workshops, publications and audio-visual material.