as answer questions from the other nodes. Questions were phrased to imagine what the near future, namely 1981, might hold in store. Examples of submitted questions included:Q2 from New York: Will minority groups have full political representation in 1981?... Q32 from Stockholm: Who is going to determine the difference between public and private information in 1981? (In reference to computer banks)… Q38 from Bombay: Will sound be more meaningful than music? Will all organized arts become out of date?The Tokyo node of this project is particularly notable as it marked the official founding of E.A.T. Tokyo, a branch of E.A.T. formed by Fujiko Nakaya, Hakudō Kobayashi, and Yūji Morioka for this project. It continued Nakaya's involvement in E.A.T. in a more formal mode, following Expo ‘70. Due to the difficulties of translation and the time differences, questions and answers were transmitted twice daily, with foreign transmissions translated in the morning and Tokyo submissions collected and translated in the evening. In addition to this translation infrastructure, the Tokyo node was active in soliciting input from specialists, media figures, and other public figures. The Tokyo node of Utopia Q&A, 1981 was thus the most prolific and organized of the nodes. Its location in the Fuji-Xerox Knowledge-In—a commercial showroom inside the busy Ginza Sony Building—in a space designed to reference newsroom aesthetics, the Tokyo space foregrounded the aesthetics of mass media while employing information technology toward more utopian ends. See also Intermedia Systems art Digital art Computer art Conceptual art Systems thinking Algorithmic art Moon Museum References Sources Steve Wilson, Information arts: Intersections of Art, Science, and Technology. MIT Press, Frank Popper, Art of the Electronic Age (1993) Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, Klüver Billy, J. Martin, Barbara Rose (eds), Pavilion: Experiments in Art and Technology. New York: E. P. Dutton, 1972 John Rockwell, The Man Who Made a Match of Technology and Art. New York Times. (Late Edition (East Coast)). New York, N.Y.:Jan 23, 2004. p. E.3 Charlie Gere (2005) Art, Time and Technology: Histories of the Disappearing Body, Berg, pp. 134 & 137 Christiane Paul (2003). Digital Art (World of Art series). London: Thames & Hudson. p. 16 Nechvatal, Joseph. (2012) Immersion Into Noise. Ann Arbor: Open Humanities Press, 191 Further reading Roy Ascott (2003). Telematic Embrace. (Edward A. Shanken, ed.) Berkeley: University of California Press. Barreto, Ricardo and Perissinotto, Paula “the_culture_of_immanence”, in Internet