Leonardo
Volume 28, No. 2 (1995)
Issue Contents
April/May 1995
Leonardo is a print journal, edited by Leonardo/the International Society for the Arts, Sciences and Technology, and published by the MIT Press. Subscriptions and individual issues can be ordered from the MIT Press.
TO ORDER
GATEWAY
by JOHN CHALMERS, GYORGY DARVAS, DONALD HOUSE, ROGER
F. MALINA, ESTUDIO MILLE, DENES NAGY, IRINA L. VANECHKINA
THE LEONARDO GALLERY
by KATHLEEN CHMELEWSKI, NAN GOGGIN,
JOSEPH SQUIER, KATHLEEN H. RUIZ, JEFF MURPHY, MARTINA LOPEZ,
GLORIA DEFILIPPS BRUSH, MICHAEL ENSDORF, STEPHEN GOLDING, REBECA
BOLLINGER
ARTISTS' ARTICLES
Audio Jackets and Other Electroacoustic Clothes
by BENOIT MAUBREY
ABSTRACT
The author discusses his
performance pieces involving electroacoustic clothes---combinations
of various thematic articles of clothing and sound equipment---worn
by performers who interact with the sounds coming from their
apparel and the public.
She Loves It, She Loves It Not:
Women and Technology, an Interactive CD-ROM
by CHRISTINE TAMBLYN
ABSTRACT
She Loves It, She Loves It Not: Women and
Technology is an interactive CD-ROM (compact disc--read only
memory) recently completed by the author in collaboration with
Marjorie Franklin and Paul Tompkins. Key concepts from research on
the topic of women and technology that informed the content of the
project are highlighted in this article. The CD-ROM contains
texts, sound, movie clips and images about women's use of
technology in the past, present and future. It utilizes
methodologies derived from academic essay writing and documentary
film production. Both the form and the content of the work
demonstrate how technology might adapt to female learning
proclivities and female culture.
GENERAL ARTICLES
Semiotic Variety in Digital Imagery: The
Case of Maxwell's Demon
by KEVIN COOK
ABSTRACT
A great deal of semiotic variety exists within digital video
productions. Consequently, many perspectives should be considered
in their analysis, not only those that focus on the digital nature
of their images. To demonstrate the importance of this thesis,
several semiotic and critical issues relative to video and art are
identified and discussed in the context of digital imaging,
truth-falsehood production and Maxwell's Demon, a 2D
(two-dimensional) computer-animation work by artist James Duesing.
Programmed Graphics in Computer Art and
Animation
by MIKE KING
ABSTRACT
In the early days of computer graphics,
artists had to learn programming in order to use the new
technology. Today, when such a wide range of software packages runs
on affordable hardware, one might ask why artists should continue
to learn to program. While this question has been considered for
many years, today even experienced artists are looking at the
sophistication and affordability of current software and realizing
that much of their programming efforts could amount to a
proverbial reinvention of the wheel. The author considers the
continuing rationale for learning to program, taking into account
the visual outcomes related to images generated by programming,
looking at some practicing artists who use programming in their
work and describing his own Windows- based explorations.
Intuitive Three-Dimensional Sketching
in Digital Space: The Synthesis of the Genetic Code for
Buildings/Organisms
by KAS OOSTERHUIS
ABSTRACT
The author views buildings and
the human-made environment as synthetic organisms, living lives
that execute the will of their genetic codes. The intuitive
three-dimensional (3D) sketch in the digital space of the computer
acts as the generator for the future shape of a building. The
author describes a series of workshops in which the intuitive 3D
sketch forms the descriptive basis for the genetic code of the
architecture of future buildings/organisms. He believes that when
the creative potential of the intuitive 3D sketch is fully
exploited, architecture can be freed from its traditional
constraints. It will become more fluid and complex in appearance
and will reach a higher level of performance as a result.
Color-Encoded Music Scores: What Visual
Communication Can Do for Music Reading
by CELSO WILMER
Crisscrossing the Interface: The
Design, Display and Evaluation of an Interactive Computer
Exhibit
by PAUL ZELEVANSKY
ABSTRACT
The author discusses the conceptual design
process that led to the creation of a computer exhibit at the New
York Hall of Science, a "hands-on" science museum in Queens, New
York. His discussion incorporates critical consideration of some of
the broader pedagogical, social and philosophical issues that both
inform and have impact on the use and abuse of interactive
exhibits in public spaces.
SOLART GLOBAL NETWORK
The SolArt Global Network '95: Artworks for the Solar Age
by JURGEN CLAUS
Perspectives and Prejudices about Some Major
Issues
by PAUL MACCREADY
Solar Energy Is the Energy
by HERMANN SCHEER
Secrets of the Sun in Los Angeles
by PETER
ERSKINE
DOCUMENT
THE NEW YORK INTERNATIONAL FESTIVAL OF THE ARTS: The
Performing and Visual Arts and New Technologies Seminars
ABSTRACTS
Wire-Brush Electrographic Art
by MATE GYULA
Numerical Relativity: On the Fallibility of
Computers
by JEAN-FRANCOIS COLONNA
