Leonardo, Volume 37, Issue 5 | Leonardo/ISASTwith Arizona State University
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Contents

Editorial

After Midnight

The Leonardo Gallery

Gallery Statements

Artists' Statements

Artist's Article

Special Section: Artmedia VIII Selected Symposium Paper

  • Toward a Diffracted Literature
    Jean-Pierre Balpe
    Get at MIT Press

    Over a relatively short period of its history, literature has become closely linked to the book; but literature preceded the book, and today its creation, due to its digital form, is more and more linked to screens or to sound output interfaces. Because the screen is not a material object but a virtual one, it can take as many forms as its users wish. This article attempts, first by means of an excerpted short story by the author and then in a theoretical discussion, to demonstrate and analyze some of the implications of the use of the screen in the field of e-literature.

General Article

  • Camera Lucida: A Three-Dimensional Sonochemical Observatory
    Evelina Domnitch, Dmitry Gelfand
    Get at MIT Press

    Camera Lucida is an interactive “sonic observatory” that directly converts sound waves into light by employing a phenomenon called sonoluminescence. The project was conceived both as an artwork and as a musical instrument that allows its player to see and shape sounds while moving through space.

Historical Perspective

  • Rosetta Stone? Hockney, Falco and the Sources of “Opticality” in Lorenzo Lotto's Husband and Wife
    Christopher Tyler, Stephen Lilly
    Get at MIT Press

    In his book Secret Knowledge, David Hockney proposes that the “optical quality” of Flemish art arose around 1420, because artists such as van Eyck then began to use optical devices for accurate projection of subject images onto the canvas. Although Hockney describes Lotto's Man and Wife as the “Rosetta Stone” of his argument, the author's analysis reveals that its perspective structure is incompatible with the logic of local optical projection. Regions that should be geometrically coherent in an optical projection display pronounced distortions, while regions that should be incoherent show no such distortions. Such detailed evidence, as well as the inability of optical projection to capture the effect of windblown garments, is inconsistent with Hockney's claim.

Abstract

Leonardo Reviews

Title: 

Leonardo, Volume 37, Issue 5

October 2004