[1] James Foley, 'Interfaces for Advanced Computing', Scientific American, October 1987,p.86.

[2] Kevin Robins, Into the Image - Visual Technologies and Vision Cultures, mimeo, Centre for Urban and Regional Development Studies, Newcastle University, Newcastle upon Tyne, 1991,p.12.

[3] Ibid. pp. 12-13.

[4] Richard Guilliatt 'SF and the tales of a new romancer', The Sunday Herald (Australia, 17 December 1989,p.37.

[5] Paul Brown, 'Metamedia and Cyberspace: Advanced Computers and the Future of Art', in Philip Hayward (ed.), Culture, Technology and Creativity (London: John Libbey/Arts Council, 1990),p.227.

[6] Timothy Leary, 'The Communication Revolutions of the Twentieth Century', Tension no. 23, October-November 1990,p.19.

[7] Paul Brown, 'Metamedia and Cyberspace', p. 238.

[8] Fredric Jameson, 'Introduction', in his Postmodernism or the Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991), p. ix, footnote 1.

[9] Leary, 'The Communications Revolution', p. 19.

[10] Leary, cited in Guilliatt, 'SF and the tales of a new romancer'.

[11] Leary, cited in Guilliatt, 'SF and the tales of a new romancer'.

[12] William Gibson, in Jim McClellan, 'From Here to Reality', The Face vol. 2 no. 15, December 1989,p.70.

[13] Brett Leonard in (unattributed) interview transcript in August Entertainment's 'Production Notes' for The Lawnmower Man (1992).

[14] ibid.

[15] ibid.

[16] ibid.

[17] ibid.

[18] John Williams, 'Musical Notes', The Face vol. 2 no. 27, p.117.

[19] Successful in this initial endeavour, one of the first projects Lanier and Zimmerman developed was a Jimi Hendrix 'simulator'!

[20] See Philip Hayward, 'Industrial Light and Magic - Style, Technology and Special Effects in the Music Video and Music Television', in Philip Hayward (ed.), Culture, Technology and Creativity, pp. 124-48.

[21] Jaron Lanier, in Stephen Levy, 'Brave New World', Rolling Stone (Australian edition), no. 448, October 1990,p.92.

[22] Levy, ibid.

[23] Ollie Olsen, in Ute Junker, 'Ollie Olsen', Ots, 18 April 1990,p.31.

[24] For a discussion of this aspect of her work see Andrew Murphie, 'Negotiating Presence Performance and New Technologies' in Philip Hayward (ed.), Culture, Technology and Creativity, pp. 209-26.

[25] According to Peter Schwartz, technical advisor to Peter Gabriel, in Stephen Levy, 'Brave New World', p. 95.

[26] Laurie Anderson, cited by Stephen Levy, ibid.

[27] John Barlow, 'Life in the Data Cloud', Mondo 2000 no. 2, Summer 1990, p.50.

[28] Stanley Jordan, cited in Melinda Newman, 'Stanley Jordan Embraces Virtual Reality', Billboard vol. 102 no. 27,7 July 1990, p.53.

[29] Ibid.

[30] Jaron Lanier, in Stephen Levy, 'Brave New World', p. 95.

[31] John Barlow, 'Being In Nothingness - Virtual Reality and the Pioneers of Cyberspace', Mondo 2000 no. 2, Summer 1990, p.41.

[32] Jerry Garcia (The Grateful Dead), in John Barlow, ibid. p. 41.

[33] Harry Shapiro, Waiting for the Man - The Story of Drugs and Popular Music (London: Quartet, 1988).

[34] See, for instance, his perceptive survey 'Being In Nothingness - Virtual Reality and the Pioneers of Cyberspace' and his somewhat less critical interview with Lanier 'Life in the Datacloud'- both in Mondo 2000 no. 2, summer 1990.

[35] In the penultimate section of his article 'The Communications Revolutions of the Twentieth Century', in the Australian magazine Tension no. 23, October-November 1990, pp. 16-19, Leary states 'My own group, Futique Inc., is developing educational courseware (DisKourses) and Mind Movies. These are multi-lingual, multi-media interactive programs in which users "jack into cyberspace and perform books and direct film scripts". Gibson's incredible fantasy future is already "up and running" and soon to be outdated.'

[36] Amongst his volunteer guinea-pigs were 'jazz eccentric' Lord Buckley, conductor Andre Previn and actor Jack Nicholson (who later wrote the screenplay for the film The Trip (1966), based on his experiences with Janiger).

[37] Division spokesman, in Dorian Silver, 'Reality is Getting More Unreal Daily--Cyberspace', The Face vol. 2 no. 27, December 1990, p.96.

[38] Paul Brown, 'Metamedia and Cyberspace' p. 236.

[39] Jaron Lanier, in Stephen Levy, 'Brave New World', p. 95.

[40] See, for instance, Marie Winn, The Plug-in Drug (New York: Viking Press, 1977).

[41] John Barlow, 'Life in the Datacloud', p. 44.

[42] Jaron Lanier, in Stephen Levy, 'Brave New World', p. 95.

[43] Lewis Mumford, The Future of Technics and Civilization (London: Freedom Press, 1986), pp. 346.

[44] Indeed, so seriously is MacLaine taken in some (American) circles that scientific and technical papers cite the influence of her work. In her 1990 paper presented at the Australian Computer Graphics Association's 'Ausgraph 90' event, Paras Kaul of California State University proceeded to argue the case for 'a greater sophistication' in sound/image relations in computer graphics, 'based on the research of Shirley MacLaine, expressed in her book, Going Within [where] each of the seven nerve centers of the body has its own vibratory level of energy which resonates to a corresponding note on the musical scale' Ausgraph 90 Proceedings, p. 25.

[45] Harry Shapiro, 'Waiting for the Man', pp. 131-2.

[46] Entitled 'A Kind of Electronic LSD?' referred to by Stephen Levy, 'Brave New World' p. 95.

[47] Jaron Lanier in John Barlow, 'Life in the Datacloud', p. 50.

[48] John Barlow, 'Being in Nothingness', p. 44.

[49] See, for instance, Christopher Dickey, 'Eyeballing the Nintendo Apocalypse', Rolling Stone (Australian edition), no. 456, April 1991, pp. 52-3.

[50] William Gibson in Jim McClellan, 'From Here to Reality', p. 73.