TELECOPY-ART

//1//
//AFTER A. THE AEROGRAM, TELEGRAM AND MAILGRAM, B. TELEPHONE AND TELEX; THERE IS C. FACSIMILE OR FAX//

//2//
//THE MYTHS OF FACSIMILE// //THE FATHER OF THE FAX IS THE SCOTTISCH CLOCKMA-KER ALEXANDER BAIN (1843)// //HIS INVENTION HAS BEEN IMPROVED BY F. BLAKEWELL (1847), GIOVANNI CASELLI (1865), G. LITTLE (1867), SHELFORD BIDWELL (1881), BUSS (1902), ARTHUR KORN (1904), EDOUARD BELIN (1907), DIEKMANN (1917), AMERICAN TELEPHONE & TE-LEGRAPH COMPANY (1924/1925), WESTERN UNION (1924), WISE (1938), XEROX CORPORATION (& RCA) (1950/1961)// //CIRCA 1970 APPEARS THE FIRST TELECOPIER// //DURING THE EIGHTIES THE FACSIMILE APPARATUS SPREADS WORLDWIDE// //FAX BECOMES AN ART MEDIUM//

//3//
//FACSIMILE// //N. ( //4//
//COPY// //( //5//
//FAX ART DOESN'T RESPECT THE SAME STANDARDS AS XEROGRAPHY OR COPY ART// //THE LATTER IS AN EVENT// //IT IS THE ARTIST WHO INDICATES AT A PARTICULAR MOMENT WHICH PHOTOCOPIES ARE ARTISTIC AND WHICH ARE NOT// //FAX ART NEEDS AN ELECTRO-NIC PROCESS// //IT IS TELECOMMUNICATION ART// //THE ARTIST CAN TRANSMIT HIS OR HER IMAGE OR WORK, BUT HE OR SHE HAS NOT THE FULL CONTROL OVER THE FACSIMILE EQUIP-MENT OF THE RECEIVER// //SO THE AESTHETIC ASPECTS OF THE FAX WORK BECOME OF SE-CONDARY IMPORTANCE IN COMPARISON WITH THE COMMUNICATIVE ASPECTS// //IN OTHER WORDS A WORK CAN ONLY BECOME FAX ART IF IT IS TRANSMITTED//

//6//
//THE TRANSMITTED OR RECEIVED TELECOPY IS ALWAYS AN ORIGINAL// //THE CONTEXT OR INTENSION OF THE TRANSMISSION CAN BE FALSE// //BUT A FAX DOES NEVER LIE// //IT IS THE INTERACTION AND RESULT OF A SPATIAL AND TEMPORAL PROCESS// //A SHORTCOMING OF ELECTRONIC COMMUNICATION VIA FAX-MACHINES IS THE ABSENCE OF TRANSMITTED COLORS AND SCENTS// //THERE ARE SIMPLY AND SOLELY THE ODOURS OF THE OWN FAX PA-PER & APPARATUS//

//7//
//SINCE FAX ART IS ELECTRONIC MAIL-ART ONE CAN ALSO TRANSMIT "INDIRECT" FAX WORKS// //X SENDS A FACSIMILE TO Y WITH THE REQUEST TO TRANSMIT IT TO Z (NOW Y CAN ADD OR ERASE SOME ASPECTS OF THE FAX BEFORE SENDING IT TO Z)//


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