Leonardo, Volume 33, Issue 1 | Leonardo/ISASTwith Arizona State University

Leonardo, Volume 33, Issue 1

February 2000

Contents

Editorial

  • Story Telling in Virtual Reality
    Hisham Bizri
  • Synesthésies
    Dora Feïlane
  • Experimental Visual Experience Devices
    Joshua Levine
    Get at MIT Press

    This article introduces the concept of Experimental Visual Experience Devices (EVEDs), which the author defines as artistic inventions that alter the participant's visual perceptions of the external real world. The aim of EVEDs is to place the participant in a slightly altered visual reality in order to cause him or her to see real things anew. The article describes several works of participation art that can be seen as historical precedents to EVEDs. The author discusses two EVEDs that he invented: Whirld is a cylindrical room mounted on an axle that functions as a spinning camera obscura; Portable Whirld is a hood that functions as a portable camera obscura. The author describes how the two sculptures reshape the spectator's visual perceptions, and suggests some forms that future EVEDs might take.

  • On the Cognitive Functioning of Aesthetic Emotions
    Roger Pouivet
    Get at MIT Press

    This article seeks to show that we cannot accept an opposition between aesthetics and logic on the basis of the distinction between aesthetic emotion and cognition. This false distinction is founded on another ill-founded one between private states of mind and public languages. Echoing works by R. de Sousa, we can talk about the rationality of emotions. Following N. Goodman and I. Scheffler, we are conducted to the notion of cognitive emotions. If there are aesthetic emotions, they are likely cognitive. The notion of supervenience seems very adequate to show how aesthetic emotion, even aesthetic pleasure, can be related to cognitive experience.

  • Art et technologie: La Monstration (How to Curate, Display and Exhibit Works of Electronic Art)
    Annick Bureaud
  • LEA Abstracts
    Peter Manning, David Ryan, Bulat M. Galeyev, Patrick Lighty, Stephen Pevnick
  • The People's Choice Music
    Clive Bell
  • The Fence
    René van Peer
  • Electric Enigma: The VLF Recordings of Stephen P. McGreevy
    René van Peer
  • LANGUAGE, MESSAGE, DRUMMAGE: Compositions for Tape and for Instruments
    Robert Coburn
  • Música de invenção
    Carlos Palombini
  • Arnaldo Cohen Plays Chopin
    Carlos Palombini
  • Materials Received
  • Leonardo/ISAST News

Artists' Statements

Artists' Articles

  • Virtual Unreality and Dynamic Form: An Exploration of Space, Time and Energy
    Richard D. Brown
    Get at MIT Press

    Early twentieth-century art, including the works of Duchamp and the Cubists, attempted to portray aspects of a reality that were beyond sensory perception, such as multiple perspectives, the fourth dimension and curved space. Virtual reality (VR) now offers artists a soft medium for creating artificial experiences of space, time and energy through mathematical models. In this article the author outlines his artistic explorations leading to the creation of Alembic, an alchemical VR installation that challenges the representational simulation of reality often associated with the medium of VR.

General Article

  • Nature, Technology and Art: The Emergence of a New Relationship?
    Ursula Huws
    Get at MIT Press

    The three-way relationship between nature, technology and the human subject has been a problematic and shifting one in the history of Western art and thought. In this article, the author begins by summarizing this history, pointing to the inadequacy of most theoretical accounts in the face of the growing interpenetration of the “natural” by the “technological” resulting from such developments as genetic engineering and artificial intelligence. The author goes on to argue that the convergence between scientific developments in the field of artificial life and the emergent art movement points to the development of a new understanding of this relationship and a new role for the artist.

Design Languages

  • Growth, Structural Coupling and Competition in Kinetic Art
    Georg Nees
    Get at MIT Press

    The author considers systems capable of growth within the framework of the aesthetics of kinetic art and George Rickey's morphology of movement. He explains fundamental growth types as the kinetic aspects of a class of structurally coupled autonomous systems. Two paradigms are treated with examples: the settling of clans competing for space and the concurrent sprouting of up to three plants. The author uses and explains his method of morphography, which generally requires of the artistically inclined scientist the design and usage of computer-generated figures called morphograms.

General Note

Extended Abstract

Leonardo Electronic Monographs

Leonardo Reviews

Endnote