Editorial

• Ubiquitous Computing, and Time
  Curtis E.A. Karnow
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The Leonardo Gallery

• Homage to Escher
  Michele Emmer, Victor Acevedo, Valentina Barucci, Jos de May, Sandro Del-Prete, Robert Fathauer, Helaman Ferguson, Kelly M. Houle, Matjuska Teja Krasek, Makoto Nakamura, Istvan Orosz, Peter Raedschelders, Dick A. Termes
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Artists' Statements

• They said that when I was born I looked just like my mother
  Mike McMillin
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• Story Telling in Virtual Reality
  Hisham Bizri
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• Synesthésies
  Dora Feïlane
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• Experimental Visual Experience Devices
  Joshua Levine
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  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
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  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
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• LEA Abstracts
  Peter Manning, David Ryan, Bulat M. Galeyev, Patrick Lighty, Stephen Pevnick
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• The People's Choice Music
  Clive Bell
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• The Fence
  René van Peer
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• Electric Enigma: The VLF Recordings of Stephen P. McGreevy
  René van Peer
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• LANGUAGE, MESSAGE, DRUMMAGE: Compositions for Tape and for Instruments
  Robert Coburn
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• Música de invenção
  Carlos Palombini
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• Arnaldo Cohen Plays Chopin
  Carlos Palombini
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• Materials Received
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• Leonardo/ISAST News
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Artists' Articles

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

• Raisonné of Nicolas De Staël
  Harry Rand
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Extended Abstract

• A 3D Flight over Vermeer's Delft in 1660
  Kees Kaldenbach
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Leonardo Electronic Monographs

• Pour une typologie de la création sur Internet (A Typology of Creation on the Internet)
  Annick Bureaud
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Leonardo Reviews

• Xenakis: Electronic Music
  Robert Coburn
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Endnote

• A Crisis in Contemporary Art?
  Hervé Fischer
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