Leonardo, Volume 32, Issue 3

June 1999

Contents

  • Order Hidden Under Chaos
  • Visic: A Proposal for a True Color Music
  • Concrete Amnesia: An Indigenous Star Map Resurfaces the Downtown Grid
  • Garden of Chances
  • Apparatus 3957
  • Electronic Art and the Law: Intellectual Property Rights in Cyberspace
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    The dematerialization of art that began in the 1960s has reached new heights with the use of electronic media. We are at an important crossroads in defining intellectual property rights that will have a direct impact on the way we create and disseminate electronic art in the future. This paper examines the historical evolution of the definition of “author” in copyright law. The paper shows how current copyright legislation and recent court decisions do not address the plasticity of the medium and the new forms of authorship that are defined by the artistic use of techniques such as virtual reality, artificial intelligence, hypermedia links and collaborative networking.

  • Netsurfers and Cybernauts in Search of Identity
  • Biotelematics
  • The Technoetic Predicate
  • Mathematicians: The New Artists?
  • Same Period, Same Problems?
  • The Systematic Refusal of Modern Music and the Cult of Classicism
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    The author argues that electronic music and classical music do not constitute two separate and isolated worlds, but instead are subject to the same well-established rules of categorization and access. Through an informal inquiry, the author shows that familiarity with contemporary composers' names (which are well assimilated by regular concertgoers) does not reflect familiarity with their actual musical works.

  • Leonardo On-Line Bibliographies
  • Unpacking Duchamp: Art in Transit
  • The Jew of Linz
  • Freakery: Cultural Spectacles of the Extraordinary Body
  • Wow'em: Website for Young Women Interested in Electronic Art and Music
  • Robert Rauschenberg: A Retrospective
  • Materials Received
  • Leonardo/ISAST NEWS

Artists' Article

  • Art as a Living System: Interactive Computer Artworks
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    The authors design computer installations that integrate artificial life and real life by means of human-computer interaction. While exploring real-time interaction and evolutionary image processes, visitors to their interactive installations become essential parts of the systems by transferring the individual behaviors, emotions and personalities to the works' image processing. Images in these installations are not static, pre-fixed or predictable, but “living systems” themselves, representing minute changes in the viewers' interactions with the installations' evolutionary image processes.

Artists' Statements

Theoretical Perspective on the Arts, Sciences and Technology

  • From the Artificial to the Art: A Short Introduction to a Theory and Its Applications
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    The author presents the idea that all human attempts to reproduce natural objects (“exemplars”) or their functions—that is, to build artificial objects or processes—unavoidably result in a transfiguration of the exemplars. After introducing the main concepts of a theory of the artificial, the author extends the theory to communication and the arts, both of which provide compelling examples of the generation of artificial objects or processes. The author conceives of art as a paradoxical communication process by which transfiguration does not represent a failure of the reproduction process but, rather, the true objective of the artist.

General Note

  • Buildings and Human Figures Aware of Each Other
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    The visual relationship between buildings and human beings is treated as the interaction between two systems: the reality system, dealing with the physical world in and of itself, and the apprehension system, dealing with the world looked at and represented by viewers. The two systems interact in a unitary physical world and can also be depicted in the visual arts.

Document

  • The Souillac II Conference on Art, Industry and Innovation: Final Report with an Introduction by Martin Malvy
    Get at MIT Press

    This document builds on the discussion among art and industry representatives documented in “The Souillac Charter for Art and Industry: A Framework for Collaboration” (Leonardo 31, 3 [1998]). Specific projects and project ideas are presented, with the aim of increasing collaboration between artists and the telecommunications industry. Such increased collaboration will result in greater recognition and protection for artists and in greater innovation and creativity for industry.

Special Section: The Aesthetic Status of Technological Art

Extended Abstract

Leonardo Reviews